ENTERTAINMENTS

Southland Times, Issue 22728, 2 November 1935, Page 10

ENTERTAINMENTS

CIVIC THEATRE “UNDER THE PAMPAS ' MOON” AH the romance and gaiety of the gaucho’s life is interpreted in an entertaining manner by the popular Warner Baxter in his latest vehicle, Under the Pampas Moon,” which is being presented at the Civic Theatre for one day only (this afternoon and evening) as the theatre is otherwise engaged on Monday and Tuesday. Although it is far from being a “Western film, “Under the Pampas Moon” nevertheless, contains abundant action and excitement that blend attractively with the music, dancing and comedy with which it abounds. The story opens when Baxter, the “king” of the pampas and beloved by all the senoritas, loses his heart to a beautiful French blonde, who arrives romantically by aeroplane in the heart of the rolling plains. All the gaucho’s past and present loves are forgotten as he seeks to win the heart of the French singer, and, when she leaves for Buenos Aires, and Baxters horse is stolen by her manager, he follows in pursuit. His arrival in the city and his subsequent adventures when fortune comes his way provide much of the humour of the film. The dress of the gaucho gives place to fashionable evening wear, and the romantic cowboy of the pampas becomes a comic figure. He seeks out his French singer, Yvonne, and, in spite of his handicap of a complete lack of city manners, his wooing produces satisfactory _ results. At a race meeting he sees his horse, and, despite the combined efforts of numerous policemen and officials, he nearly succeeds in leading it from the course. He stakes his all on his horse, his faith is justified, and he is rich. Comedy situations abound when he sends for his mother, and her lapses at the fashionable hotel and cafe ridicule her son. But Baxter, full of determination and attractively self-assured, overcomes his difficulties. Summoning his band of loyal gauchos to the city he plans to take his horse by force from the racecourse. From a cowboy in the pay of Yvonne’s manager, he learns who really stole his horse, and wrongly connects Yvonne with the plot. Although she declares her love for him and denies all complicity with the theft of his horse, he pays'no heed, and, in an exciting yet highly-amusing raid, he and his gauchos regain the horse. With an attractively-sudden ending, Baxter is seen taking his mother and his horse back to the estancia by train—and with them goes the beautiful Yvonne. Apart from the efforts of Baxter and Miss Ketti Gallian as Yvonne, there is a yariety of entertainment incidental to the story. A very effective dance by a famous team, Veloz and Yolanda, is the “Cobra Tango,” which is excellentyl performed. No less entertaining are the tangos danced by Baxter and his mother, Soledad Jimenez, and the “Zamba,” a dance by Rita Cansino. Miss Gallian is heard in a charming French song, and a tenor also entertains. The supporting programme is an outstanding one. Buster Keaton, the popular, solemn-faced comedian, appears in an amusing comedy, and there is an entertaining cartoon in addition to two interesting newsreels. The box plans are at the theatre and Begg’s. REGENT THEATRE. “IN CALIENTE.” THE MONTE CARLO OF MEXICO. Bright and refreshing entertainment, in which humour, romance, spectacle, and melody are judiciously blended, is provided in “In Caliente,” the gay and amusing Warner Brothers’ First National picture, which commenced its season at the Regent Theatre yesterday. Set against the romantic background of Agua Caliente, the famous Mexican pleasure resort, “In Caliente” is a delightful melange of colour and music, some of the most striking features of the production being a number of particularly attractive ballets and dance ensembles, which, are treated with the lavishness and prodigality of sensational effect for which the Hollywood studios are noted. The cast is an impressive one, and includes such wellknown artists as Dolores Del Rio, Edward Everett Horton, and Pat O’Brien. O’Brien is well cast as the erring editor of a sensational New York periodical which specializes in. candid criticisms of stage and other productions. His alcoholic excesses and flair for becoming involved with designing women are the despair of his partner, played by Edward Everett Horton, and eventually the latter seizes an opportunity,, when O’Brien has succumbed to the wiles of Bacchus, to transport him to Agua Caliente, where he is supposed to enjoy a rest cure. The pair’s real trials are only about to commence, however, for O’Brien promptly falls in love with a beautiful Mexican dancer (Dolores Del Rio), and commences to press his suit with an ardour and determination that are worthy of a better fate, as the dancer in question happens to be. one of the victims of his candid criticisms. Horton, always the protector, and sensing another entanglement with the glamorous young Mexican girl, takes his own steps towards creating a barrier in the way of O’Brien’s budding romance, not knowing that the girl herself has evolved a scheme of her own to humiliate the man who had so scathingly denounced her dancing on the occasion of her visit to New York. In the meantime a further complication appears in the form of a girl from New York who is relentlessly, pursuing O’Brien with matrimonial intent, and who effectually puts a spoke in her fickle Lothario’s wheel just as he has convinced the fiery young Mexican that his denunciation of her dancing was done in error and that she is the only girl in the world for him. The story ends in a whirl of merriment and a surprise match in which the wary Horton is unsuspectingly trapped into matrimony through his. zeal for his partner’s welfare. Horton, as usual, is responsible for a thoroughly enjoyable performance in which his whimsical form of humour is given full play, other players who are prominent being Leo Carrillo, Glenda Farrell, Phil Regan, and Winifred Shaw. “Lady in Red and “Muchacha” are two of the spectacular song and dance numbers introduced into the film. A feature of the dancing is an item by the De Marcos, while a host of beautiful senoritas assist Dolores Del Rio in another dance. Some clever vaudeville acts and unusual lighting effects are also included in the production. There is an entertaining supporting programme. The box plans are at the theatre and H. and J. Smith’s. MAJESTIC THEATRE. “THE BIOGRAPHY OF A BACHELOR GIRL.” ROBERT MONTGOMERY AND ANN HARDING. The high standard of entertainment invariably set by the Majestic Theatre wfll be well maintained by the excellent programme commencing to-day, and which is headed by an outstanding comedy-drama entitled “The Biography of a Bachelor Girl.” After seeing Ann Harding in her recent intensely dramatic roles one has waited with considerable interest for her appearance in comedy-drama. Her latest part, that of the chief figure in “The Biography of a Bachelor Girl,” proves

that she is capable of handling roles of this kind with great success. Robert Montgomery has a role that is for him a little unusual. In this story the events of his early life have left him embittered, dogmatic, and able to see only the hypocrisy and the dishonesty of many facets of life. He has been well cast again, however. He makes no pretence of politeness or any of the finer graces; he is merely the editor of a magazine of no very high standing who is interested in any form of literature which will reveal the truth behind the outer mask of geniality and friendship. The gay and impudent Montgomery cannot be altogether repressed, just as the serious and intense Ann Harding cannot be altogether obliterated. That gaiety and that impudence, provocative and amusing, insist on peeping through from time to time. Although one’s interest was engaged largely by the roles played by these two notable players, it would be unfair not to state that the film is thoroughly amusing and most competently acted. A major role is taken by Edward Everett Horton. He has known “the bachelor girl” in earlier years; he is now a candidate for the United States Senate, being “boosted” by his prospective father-in-law as a man of an entirely blameless life when he discovers that the bachelor girl is about to publish her biography. He is filled with conflicting feelings—desire to avoid any scandal, irritation at the superior airs of his fiancee’s father, revived feeling for the girl whom he knew in days gone by. The part is not an easy one, but. it is excellently portrayed. The plot is concerned with an attempt of Richard Kurt (Robert Montgomery) to prevail on Marion Forsyth (Ann Harding), a girl of wide experience, to publish her biography. Kurt is stem and dogmatic. He has no feeling for the scandal which, will possibly attach to the name of many as the result of the revelations of the biography. That Nolan (Horton), now a candidate for the Senate, is involved means nothing to him. He does all possible to secure quiet for the writer of the biography, but while the composition is proceeding they find themselves in love with each other. A fundamental. conflict is ,then revealed—that between Kurt’s intolerance, lus inability to see any side but the bad, and the greater understanding and wider love of mankind of the experienced woman. The ending (a little illogically, perhaps, but very humanly) is a happy one. .The sup-

porting films are right up to standard and include a clever. Charley Chase comedy “The Chases of Pimple Street, “Ireland, the Emerald Isle,” a Fitzpatrick traveltalk in colour and the Metrotone News is the very latest. Matinees will be held this afternoon. Monday and Tuesday. EMPIRE THEATRE, RIVERTON. One of the most interesting background displays of Continental life during the World War is depicted in Universal’s dramatic screen production “Madame Spy,” which features Fay Wray and Nils Asther. It will be screened at Riverton to-night. Especially built sets were created for this production at great cost. “Madame Spy” peers into the heart of a woman who placed love of country and duty over that of a man. It is the romance of a woman as ruthless as she was beautiful, as cunning as she was alluring and as dangerous, as she was clever. A splendid cast includes Ed-wa-rd Arnold, Noah Beery, John Miljan, Vince Barnett, Mabel Marden and others. The supporting programme includes County Fair (cartoon), “Strange as it Seems,” and a news. GORE REGENT THEATRE. DOUBLE FEATURE PROGRAMME. “The Silver Streak,” showing at the Gore Regent Theatre this evening, brings to the motion picture screen for the first time, modern day wonders that the general public have been impatiently waiting to see—great achievements of science and engineering. It records the crowning of an epic of rail-

roading and a century of rail transportation progress. It shows how a tremendous industry was pulled back from the brink of bankruptcy. It is packed with hair-raising thrills, breathless suspense, gripping drama, and tender romance. One of the most topical, romantic and tuneful comedies of the year is coming to this theatre tonight when “Romance in the Rain” begins an engagement of two days. It is fast, breezy and colourful, providing more mirth than in a circus sideshow. MATAURA REGENT THEATRE. “LIFE BEGINS AT 40.” If you have been saving laughs, prepare to shed them now, for Will Rogers’s latest comedy, “Life Begins at 40,” which is showing at the Mataura Regent Theatre this evening, contains many hilarious situations. The inimitable Rogers is cast as a country editor who proves that the way to get a kick out of life is to put a double kick into it.