ENTERTAINMENTS

Southland Times, Issue 22757, 6 December 1935, Page 9

ENTERTAINMENTS

REGENT THEATRE “CARDINAL RICHELIEU” In “Cardinal Richelieu,” which commences a four-day season at the Regent Theatre to-day, George Arliss has at last succeeded in throwing off the burden of his own personality. For once, he really submerges George Arliss in the role he plays, and becomes Cardinal Richelieu. Audiences which see him at the Regent Theatre this week will experience no difficulty m believing in this Richelieu who plots and schemes and drives his way through a maze of intrigue. It is a powerful and a forceful characterization which he gives. On this occasion there is something dynamic about Arliss s acting. He throws aside the mask of sardonic urbanity and takes on a new vigour which is perhaps partly responsible for the success which he has achieved in losing himself in his part. The role of Cardinal Richelieu is an exacting and, at the same.time, a fascinating one. Of the part which he played in changing France into a modern nation there can be no argument, but concerning the nature of the man himself half a dozen different interpretations might be given. This much, at least, is conceded, that he accomplished an almost impossible task, that he gathered round his name a legend of fear as a man who crushed all opposition with an iron hand, and against whom the best-laid plots ended only in disaster. Add to this that Richelieu was a churchman, and the enigma of his character becomes intensified. As George Arliss plays him, Richelieu is a man who is fired with the ambition of making France a nation strong at home and feared abroad. It is for this purpose that he aims to bring about the abolition of the power of the French nobility, at that time still largely a feudal aristocracy. His methods combine the subtle and the power of the mailed fist. But Arliss’s Richelieu is at heart a very human man who risks his power and his dreams for France to save his ward from the designs of the king, and, who in intervals of matching his wits with his most deadly enemies, plays with the cat and dreams some day of retiring into a life of contemplation and prayer. How successfully Arliss has managed to convey an impression of the iron will behind the great statesman will'be appreciated by those who see the picture. But brilliant as the acting of Arliss is, on its own, it could not create the splendid representation of life in the days of Louis XIII. without the support of a brilliant cast. Arliss can hardly ever have had such assistance from those surrounding him as he receives from such players as Cesar Romero, Douglas Dumbrille, Francis Lester, Edward Arnold, Lumsden Hare, and Maureen O’Sullivan, to mention but a few. Cesar Romero presents a splendid characterization as Andre de Pons, the hotblooded soldier, who is swayed so easily by his swift moods and easily roused passions. Dumbrille is seen in a role of an entirely different sort as Barada, the cool, daring, and crafty enemy of Richelieu, who leads the nobility in their attempt to crush the Cardinal’s design on their hereditary powers. Gustavus Adolphus makes but a flitting entrance into the story, but one wishes that more could have been seen of him for Lumsden Hare gives a wonderful performance in the role of the bluff warrior, king whose robust mentality commands the respect of the astute Frenchman. He drives a brief bargain for the hiring of his mercenary Swedes and passes out of the story with a gust of laughter. The picture has been excellently conceived. It moves from start to finish toward a definite goal. There are stately backgrounds, stirring bouts of sword play and a definite climax such as one would hardly have expected in a historical picture such as this. “Cardinal Richelieu” must be voted as a picture which is decidedly worth seeing. The supporting programme includes one of those clever Disney Silly Symphony cartoons. This one is entitled “The Golden Touch,” and concerns the story of King Midas, and a Charlie Murray comedy. Box plans are at H. and J. Smith’s, Rice’s Regent Shop and the theatre.

THE MAJESTIC. “CHINATOWN SQUAD.” BRIGHT SCREEN ENTERTAINMENT. All the essentials of sound screen entertainment are incorporated in “Chinatown Squad,” a bright show which again drew a large audience to the Majestic last night. The picture provides an entertaining story of mystery, romance and much comedy. In the Peking cafe a confidence man is murdered, and from then on the adventures commence. It is found that the murdered man was carrying a huge sum of money, a packet of indiscreet letters written by a beautiful girl, and a valuable jade ring. Suspicion is directed on several characters, and the police sergeant in charge of the case, although hopeless in his powers of detection, is nevertheless an excellent butt for the hero, an ex-police officer who protects the girl of the story. The murder of the proprietor of the cafe adds further to the mystery, and the excitement reaches a high pitch before the clever ex-policeman solves the problems in a manner which wins for him the love of the girl, and the title of sergeant in the Chinatown Police Squad. The cast is an excellent one, and includes Lyle Talbot, who gives a first-rate performance as the ex-police officer, Valerie Hobson as the mysterious white girl masquerading and living as a Chinese, Hugh O’Connel and Andy Devine. The first half of the programme is particularly strong, and consists of “One Mort Chance,” a very funny comedy. “Don’t Bite Your Dentist,” a specialty item, and the Majestic News Service. TO-MORROW’S BRIGHT BILL. “THE IRISH IN US.” Warner Bros.’ “The Irish In Us,” with James Cagney, Pat O’Brien and Frank McHugh in the leading roles, opens at the Majestic Theatre tomorrow. It is said to be one of the most entertaining pictures of the season, combining riotous comedy with tense drama, pathos and a most unusual triangular romance, involving the love of two brothers for the same girl. The cast as well as the director and most of the crew are Irish, including that inimitable trio, Cagney, O’Brien and McHugh as the three sons of Mary Gordon, herself bom in Ireland. Once a happy family, a rift sets in when Cagney and O’Brien fall in love with the same girl, Olivia de Havilland. The

film presents what is said to be the longest and most fiercely fought ring bout in history. Although it takes but fifteen minutes on the screen, it was five days in the making. Cagney and Harvey Parry, a former boxing champion, are the contestants; J. Farrell McDonald and Thomas Jackson also have important roles. The picture was directed by Lloyd Bacon, an Irishman, despite his English name. The screen play is by Earl Baldwin, based on the story by Frank Orsatti. A specially selected first half consists of a musical comedy novelty, “Main Street Follies,” a very funny conjedy, “Napoleon’s Bust,” a clever cartoon and the Majestic News Service. Box plans are available at H. and J. Smith’s and Patrick’s Sports Depot. VIENNA BOYS’ CHOIR. TWO CONCERTS NEXT THURSDAY. An altogether unique musical treat is in store for Invercargill on Thursday next when the renowned boys’ choir of the Imperial Chapel of Vienna will give two performances—at 2.30 and 8 p.m.—in the Civic Theatre. The choir has enjoyed an exceptionally successful tour of Australia and New Zealand. One of the most enthusiastic audiences was that which attended the .first Australian concert. Commenting on the performance, the Sydney Morning Herald said: “The Vienna Boys’ Choir won the affections of the audierice from the moment it came on to the stage, so fresh and pretty and childish did the little singers look in their black vestments adorned with white lace. When they began to sing friendly interest changed to delight. By the time the Mozart operetta, ‘Reconciliation,’ appeared, everyone was in a state of complete effervescence and enchantment. It will be surprising if the choir - does not draw the town during its brief season—last night’s attendance, a Town Hall almost completely full—was an encouraging beginning.” Plans for Thursday’s performances will be opened on Monday morning at Begg’s.