ENTERTAINMENTS

Southland Times, Issue 25367, 20 August 1935, Page 12

ENTERTAINMENTS

THE MAJESTIC ‘FORSAKING ALL OTHERS’ A bright and witty comedy in which all the principals give first-rate performances again enjoyed deserved popularity at the Majestic Theatre last night. “Forsaking All Others” is a rather profound title for such a production, but that is almost the only criticism one can offer since the film is unusually well finished in all its departments. The cast is headed by Joan Crawford, Robert Montgomery and Clark Gable, and they are supported by Charles Butterworth and Billie Burke, both of whom give delightful character sketches and contribute in no small measure to the enjoyment of the audience. Joan Crawford has a dramatic role which she treats in the style that has made her a firm favourite with a large section of the public, and Robert Montgomery clowns in as debonair a manner as ever. Clark Gable has a role which seems to suit him better than most of those he has undertaken in recent pictures and has certainly added to his laurels by his very pleasing performance. The story deals with three people who have been friends from childhood, but whose relationship, when they achieve maturity, assumes a triangular aspect. The heroine prefers the livelier member of her two boyfriends (Montgomery), and they decide to marry. Gable has to play the part of the “big brother” and conceal his own love. But even when Joan is jilted at the altar she retains her love for Montgomery and clings to him despite his marriage to another, and when he is divorced prepares, for the second time, to marry him—a stubborn attitude, rather than a commendable one, and deserving of the treatment Gable metes out to her in one amusing sequence. How the second marriage comes to pass makes a brisk climax. The supporting programme is an excellent one comprising a Pete Smith oddity, an interesting newsreel and a brilliant technicolour revue. THE REGENT. HERBERT MARSHALL AND MARGARET SULLAVAN.

“THE GOOD FAIRY.”

The combination of genuinely outstanding comedy and arrestingly skilful acting and characterization which is to be found in “The Good Fairy, the new picture at the Regent, is causing this programme to be one of the most discussed of recent .weeks. The discussions invariably lead to high praise for “The Good Fairy” is outstanding entertainment of a kind that must always be welcomed wherever it is provided. As a film it takes its place naturally and easily among the best half-dozen pictures of the past tew months. It is difficult to determine exactly where its chief charm lies, but it is probably the mixture of superb acting and really sparkling comedy and wit which gives this film its high place among recent productions. Margaret Sullavan demonstrates once again that charming competence and artistic skill which have made her past appearances memorable, but it is doubtful whether even so talented a performer could have made such an excellent impression without the delightful material which makes up this screen version of a celebrated Hungarian playwright’s stage success. The trim little story of “The Good Fairy” is told in a racy, humorous style which gives full scope to the romantic as well as the comedic possibilities of the plot. Technically the film is excellent, bearing the hallmark of skilful and understanding direction and gaining much from sympathetic casting. There are three stars in the film—Margaret Sullavan, Herbert Marshall, and Frank Morgan, all of them outstanding figures in their particular spheres. Margaret Sullavan as the “good fairy” finds plenty of opportunity in a divertingly attractive role. She appears first as the inmate of an orphanage sent out to work as an usher in a moving picture theatre. It is in this capacity that her life broadens out into i. thing of many problems, complications, and misunderstandings, the succession of which furnishes most of the romance and the humour of the plot. Herbert Marshall appears in a role specially suited to his particular talents and unfolds’an interesting character with that smooth finish and style which have made him one of the most generally popular figures on the British sound screen. Frank Morgan is a comedy artist of real ability. He has the gift of expressive gesture and makes the most of it. He finds a part much to his liking in “The Good Fairy,” and quickly wins a way into the good opinion of his audience. The final screenings are this afternoon and evening. GARY COOPER AND ANNA STEN. “THE WEDDING NIGHT.” A sophisticated New York author and a naive and charming farm girl are the principal characters in the splendid romantic drama “The Wedding Night,” which comes to the Regent Theatre tomorrow. Gary Cooper and Anna Slen, who appear together for the first time, make an ideal pair, and their tragic romance is reported to be one of the best the screen has given to filmgoers. The story tells of the visit to a country home in Connecticut of the author and his wife after the former has found that the strain of hectic New York society life has interfered with his work. He is seeking a new idea for a novel and unexpectedly finds the theme and colour for his manuscript in the lives and customs of the neighbouring Polish tobacco ' farmers. His wife returns to New York, but he remains to complete I the book which is to recoup his for- | tunes. By chance he meets the daugh- 1 ter of a wealthy neighbour and is attracted by her naturalness and novel outlook on life. However, she has been chosen by her parents to marry the son of another farmer. Here is the most dramatic portion of the film, for under the influence of the young American she sees that the marriage would be futile, and with his encouragement she is enabled to defy her parents. The story moves with steadily growing power to a great climax. In the leading role Anna Sten is brilliant, and her portrayal is marked by a restraint and depth of feeling which is rare. Gary Cooper makes a convincing foil as the author. The supporting items include a Mickey House cartoon, “Mickey’s Man Friday,” which proved to be so popular when screened here a few weeks ago that it is to be screened again with this programme. CIVIC THEATRE. TOM WALLS IN “LADY IN DANGER.” Witty and highly-diverting farce is presented in “Lady in Danger,” a Gaumont-British picture, which finishes a season at the Civic Theatre tonight. The stoi’y and dialogue are by Ben Travers, author of many notable productions, but not since “Rookery Nook” has he written a comedy so crowded with bright ideas. Principal parts are taken by Yvonne Arnaud and Tom Walls, who were last seen together in “On Approval” and “Canaries Sometimes Sing,” outstanding successes in the early days of talking pictures. Mr Walls, in the role of Dexter, a very important munition-

maker, pays a visit to the Central European kingdom of “Ardenburg” at the time when a demagogue named Dittling has achieved a coup d’etat and overthrown the monarchy. Dittling, a royalist at heart, persuades Dexter discreetly to shepherd the Queen (Yvonne Arnaud) to England until the trouble is over. The complications that ensue in England, the attempts to keep the Queen a secret from Dexter’s fiancee and from his partners in business, provide many amusing situations which give excellent scope for Travers’ inimitable dialogue. The calm effrontery and incurable gallantry of Mr Walls have seldom been seen to such advantage. He has never had a part which suited him better. Yvonne Arnaud gives a portrayal which jumps from mood to mood with the utmost assurance, and establishes her as a screen actress with a method and personality of her own. Laughing, teasing, reproving and breaking into voluble French all in a moment, she gives a charming performance. Minor roles are also well cast. There is an excellent variety of shorter films.

“ROAD HOUSE” AND “ENCHANTED APRIL.”

On Thursday and Friday only, as the Theatre is engaged on Wednesday, a double picture bill, “Roadhouse” and “Enchanted April,” will be screened at the Civic. Spectacular scenes are a feature of “Roadhouse.” Scores of beautifully gowned girls and their smartly dressed partners dine and dance at the “Angel Face,” Violet Loraine, who is starred with Gordon Harker, her hilarious partner of the recent “Britannia of Billingsgate,” sings a number entitled “Ooh, What a Little Moonlight Can Do!” Composed by Harry Woods, writer of the song and dance numbers in “Evergreen,” it is a gay, light-hearted number with a haunting melody, and is certain of success. The “Angel Face,” be it said, is no ordinary roadhouse. Its high, vaulted roof, whitewashed brick and magnificent ancient oak beams show it to be a converted tithe-barn of extreme antiquity: but its equipment and fittings are of the most modern. The crowning novelty is the dance floor, which, parting in the middle, slides out of sight, disclosing a deep clear swimming pool into which a team of picked beauties dive, at the climax of the scene. Two other song numbers in “Roadhouse” are “Looking for a Little Bit of Blue,” and “Don’t You Cry When We Say Goodbye,” words and music by Harry Woods. Screening with “Roadhouse” is “Enchanted April,” the new vehicle featuring Ann Harding. Seldom, it is said, has a tale been so perfectly adapted to the talents of a star. In “Enchanted April” Miss Harding, as a drab and unhappy English wife, finds new beauty, happiness and romance in a buoyant Italian spring. Her husband wooed from her side by literary success, follows her to find her once more the sweetheart of his youth, and an enchanted April brings fresh joy into their lives. The supporting cast was carefully chosen. Frank Morgan, one of the most popular screen figures of the day, is seen opposite Miss Harding as the self-centred husband. Katherine Alexander, distinguished player of “The Barretts of Wimpole Street” and “Death Takes a Holiday,” is cast as Miss Harding’s confidante. Reginald Owen has one of his best opportunities as Miss Alexander’s amusing husband. Other capable players include Jane Baxter, Jessie Ralph, Ralph Forbes, and Charles Judels.