ENTERTAINMENTS

Southland Times, Issue 22816, 15 February 1936, Page 3

ENTERTAINMENTS

REGENT THEATRE “THE LAST OUTPOST” _ Strongly reminiscent in treatment and significance of the sensational “Lives of a Bengal Lancer,” but with an individual appeal that should, nevertheless make it as eminently popular as the “Lancer” production, the new Paramount film, “The Last Outpost” is now at the Regent Theatre. Heading the cast of principals is Claude Rains, appearing in a role quite apart from any he has yet attempted on the screen with Cary Grant, Gertrude Michael Kathleen Burke and Colin Tapley. Set against the colourful background of the Eastern Front during the World War, “The Last Outpost” tells a strangely intriguing, authentic story of the relentless warfare that the Turks waged in Kurdistan, in their endeavour to strike at India, the heart of the British Empire. Into this seething field of battle comes Cary Grant, captain of a British armoured car division. Captured by a band of Kurdish cavalry, he is rescued by Claude Rains, a British Intelligence officer who refuses to reveal his identity. The two form a strange friendship and, together, they save an entire Armenian Balkari village from massacre by the Kurds by taking men, women, children and cattle across a swollen river to the Mesopotamia Mountains, at the same time averting a surprise attack on the British army stationed there. Grant, having suffered an injury to his leg, is sent to the British hosnital in Cairo. He falls in love with his nurse. Gertrude Michael, who, confessing her love for him, tells him that the man she married, a Secret Service agent, had not been heard from in three years. At this point Rains returns to claim his wife. Torn between love and duty Miss Michael bids Grant, who does not know Rains is her husband, one last good-bye. Chance brings the two men face to face, alone in a remote garrison in the interior where the natives plan to ambush the fort by starting a bush fire. The film closes in a dramatic, surprise sequence when the two men flee for their lives before the flames. Gripping drama, tense climax after climax, thrilling, fast-moving action, romantic interludes following each other in rapid succession in this highpowered photoplay of the love of two men for one woman, complicated by their common mission as soldiers in the sun-scorched deserts and jungle hells of Arabia, make “The Last Outpost” a noteworthy achievement. STATE THEATRE. JANET GAYNOR. “THE FARMER TAKES A WIFE.” Charm won for Janet Gaynor the succession to Mary Pickford as “the world’s sweetheart.” Since the silent days of the films her unique position in the cinema world has not been seriously challenged. Why this is so, and how it comes about that she can command something close to film idolatry year after year, may be judged in the Fox film “The Farmer Takes a Wife,” now showing at the State Theatre. To attempt an analysis, one may put her conquest down to her petite charm and domesticity. In “The Farmer Takes a Wife” Janet Gaynor is given a role simply made for her vivacious and charming personality. With her are artists of undoubted ability, including Jane Withers (who achieved greatness in the title role of “Gonger”); Charles Bickford, Henry Fonda and Slim Summerville, all of whom play their respective parts in dramatic and comedy situations with excellent effect. The story is a simple one of simple country folk. It deals with the lusty days of Abraham Lincoln, when canals were making a vain struggle for existence against the ingenuity of man—the development of the railroad. Janet Gaynor takes the part of a bargee’s cook with Charles

Bickford as the bargee, a great hulking bully of the waterway. Henry Fonda is a simple country bumpkin, whose ambition is to make enough money to enable him to buy a farm. When he meets the coy barge cook who nevertheless has an uncanny influence over her rough employe. - , the pair fall hopelessly in love, but their sentiments seem irreconcilable owing to the wide divergence between life on a farm and life on a canal. In the end there is a terrific fight for the hand of the charming and winsome cook, bare fists being the means of contest. It is altogether a most enjoyable picture off the beaten track and with a high standard of artistry. The supports are also well selected and intensely interesting. THE MAJESTIC. “SHIPMATES FOREVER.” BRIGHT NAUTICAL ROMANCE. Films with a nautical flavour have always found favour with the theatregoing public and “Shipmates Forever,” which commences a season at the Majestic Theatre to-day, should not be any exception, as it possesses several attractions not always found in this class of film. The stars are Dick Powell and Ruby Keeler, who were recently cast in a production dealing with American military life on service and at West Point. In this film, as the title indicates, the background of the story is the naval section of the United States defence. Contrasting with the scenes at the academy and on board ship are the sequences in a New York night club. The story is an excellent one in itself. It deals with the revolt of Richard Melville (Dick Powell), against the strong naval tradition of his family. Rather than become “just another Melville,” Dick strikes out in an entirely new line and becomes a radio star. His father (Lewis Stone) is bitterly disappointed, but, by a slight trick, he induces Dick to enter the college. The boy accepts the challenge, intending to resign as soon as he obtains his commission. This plan of action is all the more acceptable since his girl friend also belongs to a naval family and has so tired of the tradition that she declares she will never marry a man in the service. But once he is in training, Dick finds that the matter is not so simple as it had originally appeared. He is unpopular with the other midshipmen because of his radio fame, and they also suspect him because he is a son of Admiral Melville, now retired and stationed as superintendent of the academy. The uphill fight has the effect of bringing out the spirit of the Melvilles and, although Dick continues to adhere to his resolve not to enter the navy, he faces another complication when June, his girl, coming to a realization of the meaning of the words “duty” and “service” sooner than he, refuses to have anything to do with him if he leaves the academy. There is drama and stem realism in the final scenes in which an emergency arises which gives Dick a chance to show the stuff of which he is made, and the story comes to a completely - satisfactory ending for both the Melvilles and for June. Several attractive song numbers are sung by Powell, and, appropriately enough the best of them is entifled “Don’t Leave the Shin.” Ruby Keeler, as June, enters into her part in a delightful manner, and. in one or two scenes, demonstrates her skill at tap dancing The sunnorting programme is an outstanding one. McKAY’S GAIETIES. REVUE AND VAUDEVILLE. The Civic Theatre where Stanley McKay’s “Gaieties” last appeared in Invercargill, will again house this clever Australian company, which will commence a short season of four evenings and a matinee on Monday, February

17. McKay’s 1935 Gaieties Company was the last variety show to occupy the Civic. The initial production of the 1936 company has the appropriate title, “Fresh Faces,” signifying that practically the whole company is appearing here with the Gaieties for the first time. Many of the specialties are outstanding, including Reno’s performing dogs, said to be the most remarkable troupe of educated animals that has been seen on any Australian vaudeville stage. Till actually seen in their performance one would strongly doubt that dogs could play the piano, waltz, fox-trot, skip, ascend ladders as girls and descend as old ladies and play sketches in pantomime. Another brilliant item is the adagio dancing of Patricia and Colin, the young lady being an accomplished contortionist as well as an adagio expert. Ike Delavale, Maggie Buckley, Joe Rox, and George Corelli are the principal fun-makers. Winnie Edgerton and Russell Callow figure prominently in the song scenas, Elvy Ferguson ir the solo violinist, and Jerry and Phyllis display the very latest in step and ballroom dancing. As the season is limited, the revues are to be frequently changed and there is a matinee on Thursday afternoon. Seats may be reserved at Befg’s EMPIRE THEATRE, RIVERTON. “Folies Bergere,” the lavish musical extravaganza co-starring Maurice Chevalier and I. T e*le Oberon, will be screened at Riverton to-night and Monday. Taking its settings and its mood, as well as its title, from the internationally famous Parisian musical entertainment, “Folies Bergere,” it offers Chevalier his first dual role. He is seen both as his gay straw-hatted singing self and also as a moustached French baron. He sings five new song hits in this production, which features the pick of Hollywood’s loveliest dancing girls staged in a sensational manner for which the “Folies Bergere” is internationally renowned. Paris in all its gaiety is brought to the screen with sumptuous settings and matchless music. The supporting programme consists of “Two Gun Mickey” (Cartoon), “Perfectly Mismated” (Columbia) and “Screen Snapshots.” GORE REGENT THEATRE. DOUBLE FEATURE. The main feature of the double programme showing at the Gore Regent Theatre to-night and on Monday is “Nell Gwynn,” starring Anna Neagle and Cedric Hardwicke in a dramatic comedy. Also showing is the lovely star of “Anne of Green Gables,” Anne Shirley, in “Chasing Yesterday.”