ENTERTAINMENTS

Southland Times, Issue 25361, 13 August 1935, Page 9

ENTERTAINMENTS

MAJESTIC THEATRE “NAUGHTY MARIETTA” , Seldom before has a local audience seen such a light-hearted and tuneful musical comedy on the screen as “Naughty Marietta,” which again drew a packed house to the Majestic Theatre at both screenings yesterday, and never before has the vivacious and beautiful Jeanette MacDonald been seen in a role which so suits her vivid and charming personality, and in which she is given so many opportunities of displaying the perfection of her excellent soprano voice. “Naughty Marietta” is an essentially v romantic operetta, with a colourful and exotic background that gives striking point to the story, while the delightful music comiposed by Victor Herbert lends it a savour that is particularly appealing. In all her moods, playful, coquettish, slightly-melodramatic, thoughtful, or passionate, Jeanette MacDonald maintains superb finesse in her characterdrawing, and her Marietta will linger long in the memory. Second only to the principal character looms the figure of Nelson Eddy, a young man with a strength of character that is successfully transmitted to the screen, and the pqssessor of an excellent baritone voice which he is given generous opportunity to use. Eddy’s study of Captain Warrington, the leader of a troop of mercenaries in French Louisiana, who first rescues Marietta and a number of other girls after they had been captured by pirates, and then falls in love with her, unaware of her true identity, is a fine piece of work, and would indicate that this young actor has a considerable future in films of this type, if not in more sober productions. The whole story is definitely operetta. When the Princess Marie de la Bonfain, as a protest that she should marry Don Carlos de Braganza, an effete Spanish grandee, sweeps out of the royal drawing room, changes clothes with her maid, and ships herself to the colony of Louisiana on a brideship, her tantrums are • not to be taken seriously. The quickly changing scenes are excuses for presenting Jeanette MacDonald whirling gaily round the court and singing some capital songs. Her capture by a gang of unshaven pirates brings the debonair baritone into the picture. He is Captain Warrington, the leader of a company of irregular troops, who share with the princess and their captain a passion for song. Warrington, believing Saucy Marietta, as she has now become, to be merely a hus-band-seeking immigrant girl, treats her with familiarity, but she only pretends to resent it. They sing their way through an eventful courtship which culminates in a gallant rescue in the face of fearful odds. Excellent comic interludes are provided by Frank Morgan, as a vacillating colonial governor with a distinctly keen eye for a pretty figure, but a wholesome fear of his wife’s tongue, and Elsa Lanchester, who will be remembered for her delightful • portrayal of the part of Anne of Cleves in '“The Private Life of Henry VIII., as his übiquitous wife. “Naughty Marietta” is definitely a film to be seen. The supporting programme is a varied and interesting one, and constitutes an entertainment in itself. The principal supports are an hilarious Laurel and Hardy comedy entitled “Busybodies,” and an interesting travelogue filmed in colour, under the title of “Rainbow Canyon.” THE REGENT. “A GIRL OF THE LIMBERLOST.” AN OUTSTANDING PROGRAMME. It is possible that there are some people who have not read Gene Stratton Porter’s immortal book, “A Girl ot the Limberlost,” but it is difficult to conceive of anyone wilfully omitting to see the screen translation of this famous novel. That Invercargill people have recognized that opportunities of seeing a much-loved prose work come to life are all too rare, was evidenced again yesterday when the Regent Theatre was packed at both screenings. “A Girl of the Limberlost” well repays such patronage, for it comes at a time when film-goers have been experiencing a surfeit of light and frothy entertainment. There is nothing superficial about “A Girl of the Limberlost”; its as natural as was the book, and as fragrant as a breath of sweet-scented country air after the fetid atmosphere of a city. Glorious scenery—typical of the days before the natural beauties of the American countryside became marred by petrol bowsers—adds its quota to a picture already rich in entertainment. The familiar but ever-charming story of Elnora Comstock is played against a setting of rugged grandeur, and to see reflected on the screen the forest, the swamp, the log cabins and the interesting people who lived in them is a rich experience. Very skilfully is shown the> sinister part that the swamp plays in the lives of the Comstock family. It is the swamp that robs Mrs Comstock of her husband and by so doing fills her with bitterness towards her baby daughter. As the daughter grows up her life is made practically unbearable by the harsh treatment of her mother. Were it not for a kind-hearted couple next door, Wes Sinton and his wife, Lenora’s lot would have been still worse, however. They help her in her struggles to better herself and are the means of saving her great humiliation when she first goes to high school. The scene where Lenora first appears at high school is a pictorial gem. She is sent off by her mother in dowdy old garments and with her lunch in a tinpail. Her endeavours to withstand the jeers of her classmates are depicted with consummate artistry and even the most stoical member of the audience feels the exquisite mental agony suffered by the sensitive Lenora, Next day, however, is a triumph for

her. The Sintons provide her with fashionable clothes and all is brightness again. That indeed is the essence of the story; it has its sentimental and dramatic episodes, but the brighter side always predominates, generally induced by the gentle humour of the cast. And the cast is excellent; all those quaint and lovable people of the book coming vividly l to life. Marian Marsh is every inch Gene Stratton Porter’s Elnora, winsome, quietly humorous and exerting an emotional appeal that should attract even the most blase film-goer. In the difficult role of Elnora’s unpleasant mother, Louise Dresser gives an outstanding performance, as does Frank Morgan as the friendly neighbour. Splendid featurettes, pride of place among which goes to an all-Bri-tish comedy, form an admirable prelude to an outstanding film. “THE NINTH GUEST.” OWEN DAVIS’S MYSTERY PLAY.

THE REGENT—TO-MORROW. Mystery pictures will never lose their audience attraction, providing they are well-made, intelligently motivated, and contain sufficient suspense and thrills. Direct proof of this statement is offered by "The Ninth Guest,” the Columbia production which comes to the Regent to-morrow. A comparatively new formula is used in “The Ninth Guest.” Eight guests, all of whom dislike each other intensely, are summoned by mystericus telegrams to a party in a smart New York penthouse. Once there, they cannot discover the|

identity of their host. A strange radio voice announces that they are all to die unless they can outwit him. All the action of the picture takes place during that one evening in that one setting. And sure enough, before the final fade-out six of the guests have met with strange and horrible ends. Only two survive. “The Ninth Guest” presents an interesting group of players. Donald Cook and Genevieve Tobin, both popular screen stars, again give convincing performances. Less wellknown are Edward Ellis, Helen Flint and Nella Walker, all three comparatively recently from the stage.