ENTERTAINMENTS

Southland Times, Issue 22856, 3 April 1936, Page 3

ENTERTAINMENTS

STATE THEATRE “CHARLIE CHAN IN SHANGHAI” / As the genial Chinese detective of the screen, Warner Oland urbanely solves yet another mystery in “Charlie Chan in Shanghai,” which concludes a season at the State Theatre to-day The intricacies of the plot keep the audience guessing, and excitement runs high at all stages. A charming heroine has a place in the story and her fiance’s adventures are related. Chan, however, is usually the dominating figure, and attempts are made upon his life, but in these scenes the detective is a model of courage and resource. His pithy observations on life in general add to the value of the entertainment. Chan’s adventurous career very nearly comes to an untimely end when he ventures into China’s roaring metropolis to break up a dangerous gang of international opium smugglers. From the moment Chan sets foot in Shanghai, his adventures begin with the murder of his host, an English secret service man. Chan’s own life is menaced by mysterious assailants who shoot at him during the night, attempt to kidnap him, but fail to match his Oriental wile. COMMENCING TO-MORROW. GEORGE ARLISS IN “THE GUV’NOR.” Rich fare will be provided State Theatre patrons to-morrow, when “The Guv’nor,” featuring the brilliant George Arliss, opens its Invercargill season. This Gaumont-British picture reveals Arliss as the Guv’nor, a typical “swaggie,” a care-free traveller of the open roads, whose philosophy has been learned in the hedgerows and who is wise in the ways of men. Circumstances throw the Guv’nor into the confusion of high finance and a big bank smash; but not for long is he among the fleshpots. Having settled the affairs of his friends successfully, he dons again the rags and tatters of a tramp and sets out on his long journey South. Never has Arliss been seen to better advantage than in this novel role, which he plays with consummate artistry. His consistent regard for detail and the sheer entertainment value in every word and every action make Arliss’s characterization a never-to-be-forgotten thing, and “The Guv’nor” a film that will be evergreen. Arliss is ably supported by an excellent cast, including Gene Gerrard and Viola Keats. Plans are now open at Begg’s. CIVIC THEATRE. “Phar Lap’s Son?” after two days at the Civic Theatre was given a breathing spell yesterday on account of a concert at the theatre. However, this excellent New Zealand produced comedy talkie renews its season to-day with a matinee and an evening performance. Saturday’s matinee session will be a great event for the children of Invercargill, as Dr. A. L. Lewis, of Hollywood, will review all boys and girls who wish to come upon the stage from the audience, and from them he will select several to be included as eligibles upon his available list for the next picture to be produced by South Seas Films, Ltd. Mr Matthews, manager of the Civic Theatre, will give each one of those selected the sum of five shillings as a present from the theatre in appreciation of their interest. Special prizes to the children most closely resembling Shirley Temple and Jackie Cooper will also be presented. And to top this special event each child attending the Saturday matinee performance will be given a small piece of film cut from the actual picture, “Phar Lap’s Son?” Also, Plunger, tbe dog in “Phar Lap’s Son?” will appear upon the stage with the Henderson family in some clever tricks. To-night and to-morrow night Dr. Lewis will continue his famous comedy talkie tests on the stage, making his choice of the participants, which will give at least two people from Invercargill district a chance to be included in the cast of the next picture. Although “Phar Lap’s Son?” is hilariously funny it has its serious aspect, for the tests are designed to clearly reveal comedy characteristics. Dr. Lewis contends that if an audience reacts favourably to the individual’s stage conduct, then that same, person is very likely to compel a similar reaction if his portrayal is reproduced on film. Up to date packed houses have been well entertained and vastly amused by this New Zealand talkie comedy produced for international distribution, as well as by the talkie tests. It is a unique programme, especially designed for fun-loving people. Miss Dorothy Foothead, the Invercargill girl who is well-known for her sweet voice, has displayed considerable additional ability as a comedienne in “Phar Laps Son?” She will again make personal appearances upon the Civic stage in popular songs which she sings attractively. Three splendid shorts complete a genuinely good programme. REGENT THEATRE. BOOTH TARKINGTON’S “ALICE ADAMS.” KATHERINE HEPBURN’S LATEST. Striking in characterization and vibrant with human interest, a new film that will touch the heart strings of every class of audience, “Alice Adams, starring Katharine Hepburn, is being presented for the final screenings at the Regent Theatre to-day. Not since she flamed across the screen horizon in “Morning Glory” has Miss Hepburn had a role which offers her so much opportunity for outstanding characterization and subtle interpretation. The story relates to a young girl in a small country town who is aflame with ambition to climb out of the mire of genteel poverty and social ostracism. She masks her heartaches and tragedies behind a screen of pretence and deceit, only to find that truth and honesty are the only passwords to the land of her heart’s desires. The saga of her hopes, her despair, her courage, and her final triumph is a dramatic gem. With her

performance of the title role, Miss Hepburn adds another triumph to her brilliant screen record and further establishes herself in the ranks of the uppermost stars of the cinema. Fred Stone, noted stage star, making his screen debut in this picture, scores convincingly in the part of the down-trodden, hopless father who sacrifices his honour on the altar of his devotion to his family. “BAR 20 RIDES AGAIN.” “THE CHARM SCHOOL.” At the Regent Theatre on Saturday afternoon and evening, another of the popular two-feature programmes will be presented—Clarence E. Mulford’s “Bar 20 Rides Again” and a bright comedy with music entitled “The Charm School.” “Bar 20 Rides Again” is the third in the “Hopalong Cassidy” series and finds the three cowboy musketeers of the first two—Cassidy, Johnny Nelson and Red Connors—in the saddle. They ride into the Snake Butte country to avenge their rancher-friend, Jim Arnold of the SV, who has been victimized by “Nevada” and his marauding band. The picture is packed with swift action. The boys of the “Bar 20” ride as they have never ridden before. And the climax, which comes when they trail the rustlers to their lair in the hills, furnishes one of the most blazing gun battles in the history of Western films. Further compliments need not be handed to the players who already have been seen in the series. But two new ones must be mentioned. Harry Worth as “Nevada,” a sleek, suave villain with a Napoleon complex, and Jean Rouverol, as the victimized rancher’s daughter, each adds vitality to the story. The other feature, “The Charm School,” has many laughs and much bright music interspersed with a great comedy cast including Jack Oakie, Ned Sparks and Joe Penner, some brilliant dancers and natty girls. Jack Oakie has a girl’s school bequeathed to him, a school steeped in mid-Victorian ideas. He and his friends set out to brighten and modernize the surroundings. They do so much to the improvement of the school and the greater enjoyment of the audience. THE MAJESTIC. “HERE COMES THE BAND.” A NEW SINGER. Ted Lewis and his orchestra, in conjunction with Harry Stockwell, a new singing discovery, are featured in “Here Comes the Band,” a rollicking picture heading the programme at the Majestic Theatre. “Here Comes the Band” follows the fortunes of an army band from the Armistice to 1935. In radio, Armistice Day reunion parade and other scenes the music is introduced. Songs, comedy specialties and other novelties are woven into the main theme. The story itself centres about a song, “Headin’ Home,” by Herbert Stothart and Ned Washington. This is a blend of all typical American music, and in a fictional plagiarism suit over it the authorship is proved by a demonstration in court, in which Indians, hill-billies, negroes, cowboys and others sing, in choruses, component parts of the music originating in their folk songs. In this courtroom ensemble a chorus of forty negroes for spirituals, twelve Indians, including one squaw, six authentic hill-billies and a double quartet of authentic cowboy singers feature. The cast includes Harry Stockwell, singer from the New York stage, and Virginia Bruce, as romantic leads, Ted Healy and Nat Pendleton providing comedy as the piccolo and clarinet players in the band. The supporting programme is of the usual high Majestic Theatre standard. “WEST POINT OF THE AIR.” COMMENCING TO-MORROW. With the shrill scream of zooming planes as a blood-stirring background, Wallace Beery comes to the Majestic screen to-morrow in the most startling aviation spectacle of the year “West Point of the Air.” Just as “Hell Divers” was the great air epic of the United States Navy, so is the new picture a breath-taking revelation of Uncle Sam’s strength in the Air Corps training centres of the army. Beery in his role as “Big Mike” gives a dramatic portrayal that surpasses even his performance in “The Champ.” His pathetic love for a son whose conceit almost brings disgrace to the Air Corps builds into the foundation for one of the most smashing screen climaxes ever filmed. Heading the supporting cast as the young romantic lead is Maureen O’Sullivan, whose recent hit in “David Copperfield” won her great acclaim from critics and public alike. The most important role since his smash hit in “The Sin of Madelon Claudet” is filled by Robert Young as “Little Mike,” Beery’s son. Rosalind Russell as the “other woman” in the story gives an intelligent and deft handling to her scenes with Young. She scored recently in “The President Vanishes” and “Evelyn Prentice.” The polish and military bearing of Lewis Stone adds much to his role as General Carter, officer in charge of the aviation training centre. Hilarious comedy highlights are added by Jimmy Gleason as Joe Bags. THEATRE ROYAL, WINTON. TO-NIGHT AND SATURDAY NIGHT. A melodramatic murder mystery thriller guaranteed to send chills creeping up and down the spine comes to the Theatre Royal, Winton, to-night

and to-morrow night under the title of “The White Cockatoo.” This new Warner Bros, drama, unlike most mystery plays, accentuates the romance angle very strongly. The attempts of two bands of criminals to steal a young American girl’s fortune, lead to thr ee murders, the kidnapping of the heiress and an attempt on the lives of several others. An American engineer, aided by a cockatoo, finally solves the killings and other mysterious happenings in the spooky French hotel. Jean Muir has the role of the heiress whose past is wrapped in mystery. Ricardo Cortez plays the part of the engineer lover. The selfwrought destruction of the primitive Irish giant whose life furnishes the theme for RKO-Radio’s “The Informer,” pictures dramatically the fact that the atavistic brute has no place in a modern society, and inevitably harbours the instruments of his own doom. Portrayed by Victor McLaglen, Gypo Nolan, the savage Irishman who wages a lone battle against the world in the screen play from Liam O’Flaherty s novel of the same name, batters himself against the unyielding traditions of his people. For money enough to satisfy the desires of the blonde woman he loves, Nolan betrays a friend. The realization of the import of his crime engenders in the brutish Irishman a turmoil of biting, human emotions which at last force him to reveal his guilt and make the inevitable payment of his life for an act considered by his fellow Irishmen as the most despicable of sins.