ENTERTAINMENTS

Southland Times, Issue 22734, 9 November 1935, Page 7

ENTERTAINMENTS

CIVIC THEATRE “ROBERTA” A musical romance of outstanding quality, “Roberta;’ the screen version of a highly successful stage production, will be shown at the Civic Theatre today. With Irene Dunne to present the principal vocal items, and Fred Astaire and Ginger Rogers to provide comedy and dance numbers, the film has a cast which gives it distinction among entertainments of its type, but it has, in addition, a substantial story, told convincingly, but none the less brightly. Astaire proves himself a remarkably versatile performer, for while dancing is his forte, he has a quietly humorous manner, and is able to take his share of the vocal numbers and to give novel performances on the piano. Miss Rogers is also a vocalist, and, in a role which gives her abundant opportunities, she contributes largely to the humour which gives spice to the story. In contrast is the work of Miss Dunne, whose dignified interpretation of the principal role is backed by a natural charm of manner and a delightful soprano voice. To her is entrusted the presentation of the most successful of the song numbers, “Smoke Gets in Your Eyes, which has already gained a wide popularity, but has an even greater appeal when it is heard in its proper setting. Jerome Kern, composer of . many favourites, wrote the music for “Roberta,” and the producers of the picture have done their utmost to ensure that it shall be worthily presented. Besides taking care in the choice of vocalists, they have assembled an excellent orchestra, which provides a pleasing musical background to situations both grave and gay. There is another striking feature of the production which will appeal chiefly to the feminine portion of the audience. It is the almost bewildering display of fashions which is provided. There are special parades of mannequins who wear an extremely varied assortment of gowns designed for all occasions,' but effective frocking is not confined to these portions of the film. Feminine finery in all its forms is displayed at every opportunity. This is only to be expected, for most of the stoiy is laid in a Parisian fashion salon owned by Roberta, who leads in her profession. Unexpectedly, she is called upon to asstune charge of an American dance band, which, on reaching France, finds itself without an engagement. Accompanying the band is John, her nephew, who is immediately attracted by Stephanie, Roberta’s assistant. He has previously been in love with a girl from his own American town, and when she arrives in Paris she succeeds again in attracting his attention. It is John’s habit to blunder, and, after events have shown him that he is really in love with Stephanie, who is a Russian princess in exile, he finds that he has placed a barrier between them. The progress of their romance from this stage keeps up an atmosphere of suspense while Huck, the leader of the band, and an American girl posing as a countess are also conducting a romance in a more lighthearted manner. While the story is eventful, it is almost at all times amusing and this, together with its delightful music and specially attractive dancing, makes the film sparkling entertainment of a kind that must have an unusually wide appeal. The supporting programme, besides containing interesting news films, includes a travel picture in which the audience is shown the Saar area, which recently attracted world-wide attention. The outstanding item, however, is a particularly bright cartoon in colour. The box plans are at the theatre and Begg’s.

REGENT THEATRE.

“WEREWOLF OF LONDON.” WARNER OLAND AND HENRY HULL. Picture theatres have provided their audiences with thrills on many occasions, but something new in excitement awaits those who go to the Regent Theatre for its current presentation. “The Werewolf of London,” was made purely to provide excitement, and in this it succeeds admirably. “Dracula” and “Frankenstein’'' are tame compared with the horrors that lurk in the halfdark scenes of this film. “The Werewolf of London” is one of the best screen productions of its-kind. It is an eerie and grotesque type of film, and it abounds with shocks and thrills. The story opens with Dr. Glendon, an English scientist, whose whole interest in life lies in the collection of rare flowers from various parts of the earth, on a quest in Tibet for a werewolf flower, this being the only antidote to save a man from turning into a wolf every full moon. In Tibet he finds the flower, but in attempting to procure some specimens is bitten by a werewolf, and, according to legend, he now becomes a werewolf himself. Desperately he fights the affliction, but one day a thief enters his laboratory and steals the flower, which has acted as a cure for Glendon in the past. And this brilliant scientist becomes a howling wolf overnight. Lodon is thrown into a turmoil by his activities, and the police are at a decided loss to account for the murders that have taken place. At last they suspect Dr. Glendon, but the hard-headed police officials cannot take to the belief that a man can turn into a werewolf overnight and be quite sane I again in the morning. So he continues to remain at large until his continued staying away from his wife and residence arouses the interest of the detectives. One night he comes in contact with his wife, and at once sets about murdering her. Agile in the process, Glendon is interrupted by the arrival of

Mrs Glendon’s lover, Paul Ames, and before he can do any damage, he is shot. As Dr. Glendon, Henry Hull gives one of the best performances seen for some time. His make-up is perfect, and to him must go ihe credit of making the film such an outstanding production. In emotional power his role is similar to that of Magwitch, which he portrayed in “Great Expectations.” Warner Gland, as another bound by the werewolf curse, gives a capable performance, while Valerie Hobson, is quite at home in the role of the satisfied wife, who at last finds out that she does not love her husband, but still cherishes memories of her early days in the company of Paul Ames, who is in London on holiday. There will be an interesting supporting programme. Box plans are at H. and J. Smith’s and Rice’s Regent shop. MAJESTIC THEATRE. NOEL COWARD IN “THE SCOUNDREL.” It is only a comparatively short time ago that the talking screen became capable of tragedy—comedy was its first achievement —and it was scarcely to be expected that satire, that finest and latest artistic development, should have been perfected so early. Yet “The Scoundrel," which will be screened for the first time here at the Majestic Theatre to-night, should stand as the first great screen satire. That comment may not seem over-enthusiastic. Enthusiasm of a sort has, however, been so generously paid in honour of films good, bad, and indifferent, that it has become an inflated currency; and appreciation of “The Scoundrel” cannot be bought with such coin. It has become necessary to weigh words in praising films of real merit. And the high qualities which have made the first great screen satire need some description. Satire is not vulgar abuse. Its first essential is wit and point, and “The Scoundrel” answers this requirement completely. The lines are delicately phrased, a delight to hear, and none' is irrelevant. Apart from wit and point, satire must be broadly human, evoking emotions deeper and more sincere thtan those called forth by small personal tragedies and triumphs. Again, “The Scoundrel” is not .wanting. It deals in tragedies and triumphs, certainly, but they are those of the whole of humanity striving through misapprehension and selfishness towards half-seen good. Noel Coward acts and speaks with wit, grace, and discernment. His part, it is said, was created for him; it should be added that it has been created by him. He is the “scoundrel” himself, a cynic whose success as a publisher is equalled only by. his success as a philanderer. There is a “bitter-sweet” in the fascination of his acting; it is from one point of view the highest form of entertainment, but the force of the human tragedy concentrated in the life of one person cannot be resisted. Time after time Antony Mallare shows himself to be inhumanly cruel, cowardly, and deceitful. But the cruelty, the cowardice, and the deception are not those of an idealized villain —they are those of humanity itself. It is the mirror held up to nature again, but it is a mirror which reflects more than appearances. Then there is the element of miracle play. Mallare is killed and returns to life, under the simple legendary necessity (with the symbolic truth of legend), to find one human being who will weep for him. Before the genius of producers and cast is shown by the accomplished miracle one is inclined to think that this cannot be done. But it has been done, with incredible success. Of course, tremendous demands have been made on the others in the cast. Julie Haydon, as the girl poet who gives Mallare his strangely-sought rest, has the difficult task of being a kind of goddess of sanity in a mad universe. She does it admirably. There are,, too, . many others—all equal to their jobs, including a ponderous poet who might have been drawn by a modern Dickens. The supporting featurettes are particularly attractive. A special programme will be shown this afternoon.

GORE REGENT THEATRE.

DOUBLE FEATURE PROGRAMME.

Following the success of “Cleaning Up” his first screen comedy, George Gee comes to the screen again in “Strike It Rich,” the main feature showing at the Gore Regent Theatre to-night and Monday. He again plays the role of the penniless young man who has an unexpected rise to fame and fortune. He is supported by a strong cast of English comedians. Gina Malo, a new discovery, plays opposite the star. Also showing is “Midshipman Jack.” The intriguing romance filmed at the United States Naval Academy at Annapolis, visualizes many features of the famous institution and an exhilarating sea drill of submarine chasers and aeroplanes, climaxing with a headon crash between a plane and a ship. Bruce Cabot is in the leading role. MATAURA REGENT THEATRE. The pomp and pageantry of a European court of the eighteenth century make a fitting background to an excellent story in “The Dictator,” an historic romance which is the main feature at the Mataura Regent Theatre this evening. The story of the rise to fame and power of a simple German doctor, and of his influence for good in a dissolute court, interwoven with a simple love story of a queen might have been made for two such actors as Madeleine Carroll and Clive Brook, and they make the best of the opportunities which the film provides. The fault of unreality which mars so many historical subjects has been entirely avoided in “The Dictator.” EBIPIRE THEATRE, RIVERTON. To-night it will be the privilege of the Empire Theatre, Riverton, to present British International Pictures delightful production “Mimi,” a modem adaptation of Murger’s famous play “La Vie de Boheme,” co-starring Gertrude

Lawrence and Douglas Fairbanks, jun. That this world known romance comes to the screen as beautiful and unspoiled as from the pen of its author is a tribute to the genius of the director and to the courage and faith of the creators of to-day’s motion picture. The Australian Women’s Weekly states: “It is a subject of tender wistfulness, breathing romance from first to last. These painters and musicians belong not to the drab world of everyday, but to some fairy tale where laughter reigns.” Gertrude Lawrence gives a beautiful performance. There is a strong cast. The supporting programme includes “Movilogue,” “Jack Frost” (coloured cartoon) and “Pathe Pictorial.