ENTERTAINMENTS

Southland Times, Issue 22898, 25 May 1936, Page 4

ENTERTAINMENTS

CIVIC THEATRE “THE THIRTY-NINE STEPS”

Not only thoroughly convincing, but as natural in treatment and presentation as it is thrillingly exciting, “The Thirty-Nine Steps,” a Gaumont-Brit-ish picture which commenced a season at the Civic Theatre on Saturday night, fully merits the approbation of pic-ture-goers. The picture is an ingenious adaptation of John Buchan’s wellknown story of the machinations of an international spy organization and the exciting adventures that befell a man in his efforts to outwit the gang. Robert Donat, well remembered for his powerful interpretation of “The Count of Monte Cristo,” proves an admirable Richard Hannay, his personality being particularly well suited to the role. Donat makes of the character a man in the best sense of the term —a redblooded, chivalrous, charming fellow whose sense of humour is never far from the surface, and whose love of adventure is in direct proportion to its degree of danger. Madeleine Carroll has, in Pamela, a type of role new to her. She has hitherto been seen in characters of regal dignity. In “The Thirty-Nine Steps” no such aura is allowed to surround her In a part that gives no more than a taste of her quality, Lucy Mannheim shows great dramatic power; Godfrey Tearle as Professor Jordon gives another of his distinctive studies of villainy; John Laurie as a greedy, hypocritical Scotch crofter and Peggy Ashcroft as his young, unhappy wife are splendidly cast. VAUDEVILLE TRIALS. A great reception was given to the winners of the vaudeville trials by the large audience on Saturday evening. Following were the placings: Master Canning (Irish Jig) 1, S. Mathews (Spanish guitar yodeller) 2, Mabel and Sylvia Swan (dance duo) 3. Special prizes presented by Begg and Company were won by Fergus Love, Frank Rutherford and R. L. Jordan.

THE MAJESTIC. LAUREL AND HARDY IN KILTS. At 7.45 p.m. on Saturday hundreds were leaving the Majestic, sighing because the theatre was not larger. At 10.15 p.m. many more hundreds were leaving the theatre sighing because “Bonnie Scotland” was not longer. When the curtain fell people in every part of the building were saying “Oh, why is it over!”, so gaily had they been whirled along on the wheels of enjoyment with Laurel and Hardy as charioteers. In their other full length pictures the two comedians were inclined to pall, but, in “Bonnie Scotland,” the direction is so skilful that there is never a moment when the antics of the mirthful partners grow wearisome. It is the best picture they have done, and while much of the success is undoubtedly due to them, even more is due to the genius who directed operations. The scenes in Scotland are rich in humour, but they are outshone by the dazzling gems from India. The merriment which Laurel and Hardy provide is cleverly relieved by a tale of true love which they help to run on a smooth path after disaster has threatened. In every way it is a masterpiece of light comedy. McLaurel and McHardy arrive in Scotland, after a foul trip from America in a cattle boat, expecting £200,000 from an estate. Instead of the money* they get a set of bagpipes and a snuff box. The sneezes caused by the snuff cost McHardy his trousers, and indirectly lead to the enlistment of the heroes in a Scottish regiment. They go to India, and learn in barracks all about mirages, camouflages and barrages. McLaurel’s inability to keep in step and McHardy’s ineffective blustering bring many a laugh. There are some remarkably clever scenes on the march, with Scottish airs setting the feet tingling and making McLaurel perform infectious change-step jazz. There is also a delightful scene on the barrack square in which the two recruits pick up waste paper, keeping time with a Scotch reel, much to the rage of the company sergeantmajor. When the battle cry is sounded McLaurel and McHardy are given an unenviable task, but by hurling beehives about and stinging natives into panic they help to win the day and bring a happy ending to the romance which began in Scotland. The first half of the programme is excellent, with a clever cartoon and an Our Gang comedy adding to the fun of “Bonnie Scotland.”

STATE THEATRE. “PROFESSIONAL SOLDIER.” FREDDIE BARTHOLOMEW’S BEST FILM. As David Copperfield, Freddie Bartholomew attained great screen heights. In “Professional Soldier,” which is having its first New Zealand screenings at the State Theatre, he reveals that he is the finest juvenile actor ever to appear in motion pictures. His consummate artistry—which has no hint of precocity—dominates a picture that provides some of the brightest entertainment Invercargill has seen for a long time. But the young English boy does not stand alone. Victor McLaglen, whose performance in “The Informer won him the award for the best actor of 1935, has another leading role and the supporting cast is one of the strongest ever assembled for one picture. The film does full justice to the talents of its players. It is a colourful, exciting and often amusing story of a mythical European kingdom, a boy king, a soldier of fortune and a band of revolutionaries. McLaglen is seen as Colonel Michael Donovan, an Irish soldier of fortune, who because of a paucity of wars, has been forced to take up a position as bodyguard to a wealthy young American. The final scene of the picture provides a glorious climax, The film contains a wealth of detail that must be seen to be appreciated. But for the acting alone “Professional Soldier” is well worthy of the attention of every film-goer. Freddie Bartholomew has never been so delightful, nor Victor McLaglen more robustly virile—and that is high praise. In the first half a tuneful American comedy is outstanding in a splendid assortment of featurettes.

REGENT THEATRE. “THE EAGLE’S BROOD.” HOPALONG CASSIDY RIDES AGAIN. That picturesque Western character, Hopalong Cassidy, is the central figure in “The Eagle’s Brood,” which commenced a season at the Regent on Saturday. The film strikes a new note of refreshing action, and the acting of the principals is spirited and sincere. “The Eagle’s Brood” has plenty of action, hair-raising thrills, spectacular horsemanship, and numerous gun battles in the accepted Western manner. In photographing the outdoor scenes the producers have used the natural beauty of the outdoors to symbolize the romantic, sinister and dramatic moods of the story. These include the remnants of abandoned gold mines and claims from the early days

of 1849, which still stand as reminders of the days of the gold rush. Measuring up to the same high standard of the other Mulford films, “The. Eagle’s Brood” is a continuance of fiction’s favourite cowboy hero and his adventures as a fearless rider of the range in the days of the old West. William Boyd is again seen in the role of Hopalbng, the same character he created in the others of the series—a fearless, admirable cowboy, quick on the trigger, straight-shooting, hard-riding hero of Mulford’s books, who comes to life on the screen. In “The Eagle’s Brood” he is cast as a peace officer whose duty is to bring law and order to the lawless border town of Hell Center, With him is his devoted admirer and impulsive pal, Johnny Nelson, another of Mulford’s beloved fiction characters. Jimmy Ellison a new screen discovery, who played his first featured part as Johnny Nelson in the first Hopalong Western picture, also portrays the same role, he brought to film life in the first Cassidy picture. Again he is the same impulsive, hot-headed, loyal youth, ready to pull a gun at the drop of a hat in defence of his friend. A thrilling, fastmoving finale makes for an exciting finish. An able cast supports the two principals, including George Hayes, Dorothy Revier, George Mari. Howard Bretherton, whose direction distinguished the first Hopalong Western picture did as well on the second Mulford film. The first part of the programme includes another review of outstanding events of 1935, a sportlight, Duke Ellington’s orchestra, Paramount pictorial, screen song and other interesting subjects.