ENTERTAINMENTS

Southland Times, Issue 22915, 13 June 1936, Page 9

ENTERTAINMENTS

CIVIC THEATRE “THE IRON DUKE” When the Gaumont-British Picture Corporation set out to make “The Iron Duke” it fully realized that it was undertaking a tremendous project. To reconstruct the phase of European history with which the picture deals meant the erection of pretentious sets, and the costuming of thousands of extras, to say nothing of a large cast of principals and the re-enacting of memorable excerpts from the past in every authentic detail. One of the highlights of' this production, which is the first British film starring George Arliss and which will be shown at the Civic Theatre to-night, is the Battle of Waterloo which is refought with all its thrilling realism. In order to ensure the authenticity of these scenes, Gau-mont-British engaged the services of Captain H. Oakes-Jones, of the Royal Fusiliers, who is particularly well known for his arrangements of the world-famous Aidershot Tattoo and other British military pageants, and is one of the greatest living authorities on military history and especially on British and foreign regimental history in all its aspects from 1666 onwards. For the purposes of “The Iron Duke,” it was not necessary to restage the whole of the operations on the field of Waterloo. The outstanding features of the battle were considered and it was eventually decided to bring four famous events of the day to the screen —incidents remarkable for their dramatic value and scenes that would present the greatest possible spectacular appeal. The events chosen were—(l) The charge of the Scots Greys and Gordon Highlanders who, as part of the Union Brigade, swept forward into the front lines of the French. (2) The infantry lines of Wellington forming squares as the French cavalry swept down on them. (3) The historic moment when Wellington cried “Up, Guards, and at ’Em!” and the whole British front line advanced on the enemy. (4) The moment when the Household Cavalry was launched into action on Wellington’s command of “Gentlemen, for the honour of the Household Troops! ’ These and one or two other incidents, represent the battle of Waterloo as brought to the screen in “The Iron Duke. There has been no attempt to depict incidents of individual bravery, but rather to portray the heroism of the whole army. The actual seat of war covered a great deal of country. In the east at the Shepherd’s Bush Studios, George Arliss moved along the lines and gave his orders. In the north near Edinburgh the Greys and Argylls, the latter enacting the “Gordons, made their famous charge. In the west, on Salisbury Plain, the regiments stationed at Tidworth Barracks formed the famous squares and carried out the charge of the Life Guards and the charge of the Foot Guards besides appearing as Napoleon’s cavalry and French gunners. regent theatre. “ANYTHING GOES.” Everyone who goes to “Anything Goes” will not regret it. The large audiences which packed the Regent Theatre yesterday for the opening sessions of this picture found it one of the merriest and most tuneful musical comedies that the screen has yet provided. But perhaps “musical comedy is a misnomer. “Anything poes’ can be better described as a comedy set to music. The comedy, moreover, is in very capable hands. That inimitable humorist Charlie Ruggles is seen as Public Enemy No. 13—a crook in clergyman’s guise. No more delightfully amusing wolf in sheep s clothing ever romped across the screen. Then there is a new comedian. Bing Crosby is his name. Most, people will remember him as a vague, lovelorn swain who spent most of liis time in mournful song, but in this picture he emerges as an accomplished light comedian. His singing, too, has undergone a change. He sings many catchy songs and all are equally captivating. Ethel Merman is invaluable to Crosby in his musical moments and is also effective in her own solo efforts. “You’re The Top,” “I Get a Kick Out of You,” “Anything Goes” and “Sailor Beware” are among the principal song numbers, but the music and dancing are always subordinate to the story. Most of the action of the story takes place on board ship, a particularly accommodating ship which lends itself to all manner of merry misdoings. Charlie Ruggles, with detectives in hot pursuit, boards the liner and sets the story in action. Necessity has forced him to disguise himself as a clergyman and he sneaks furtively about the ship hugging a violin case which harbours a machinegun. He is soon in difficulties. A bishop from China fastens on him as a brother of the cloth and begins to talk “shop.” Ruggles knows only the jargon of the underworld and makes a poor attempt at ecclesiastical platitudes, but his discomfiture is soon removed. Detectives arrive on the scene and—but to disclose what follows would be unfair to the cinema-goer who prefers to enjoy his laughter without knowing what happens next. Bing Crosby, as a stowaway bent on rescuing a maiden in distress—who does not wish to be rescued!—is also well to the fore in the comedy highlights of the story. The supporting programme is bright and well-varied. STATE THEATRE. “FIRST A- GIRL.” Dainty and versatile as ever, and exploiting to the full the vivacious personality that made her such a favourite' in “Evergreen” and “The Good Companions,” Jessie Matthews makes a welcome reappearance in “First a Girl,” the sparkling musical comedy which commences a season at the State Theatre to-day. It is a sprightly story of a girl’s masquerade as a female impersonator, and the subsequent complications. So successfully does she carry out the deception that it becomes necessary for her and her fellow-conspir-ators to continue, and as a result they become involved in a series of complications which are as amusing as they are tangled. Indeed, in the early stages of the performance it is difficult to foresee how everything can possibly straighten out. A scintillating performance by Jessie -Matthews embraces piquant romance, saucy innuendo, and merry masquerade, in addition to a rich feast of song, dance, and spectacle, in which she, the central figure, is finely supported by Sonnie Hale in lighthearted quip and jest ending in a riotous impersonation of the impersonator. The entertainment also includes a finely-staged mannequin parade and a brilliant, fantastic scena in which Jessie Matthews sings from a suspended gilded cage prior to presenting a whirlwind dance. Jessie Matthews is a star who never fails to take hearts by storm. Even without the splendour of her surroundings, the dazzling bevy of dancing chorines and the sustained support of Sonnie Hale and a speciallypicked cast, Jessie Matthews, effortlessly “puts it across” in a film that is said to surpass the standard of “Evergreen.” Much of the comedy of the picture is set against the background of the French Riviera, and it is in this setting that Miss Matthews is seen in one of the best scenes of the film. Perhaps the gems of the production are a sequence in a bedroom, hilariously funny, in which the three principals draw lots for a single bed, and a bril-

liant impersonation by Sonnie Hale of a musical comedy actress. Several spectacular ensembles are a. notable feature of the show, and the direction and photography leave nothing to be desired. Anna Lee and Griffiths Jones, who are seen in support of the stars, fill their respective roles with distinction. The supporting programme is a particularly entertaining one, the outstanding feature being the showing of the Rugby Test match, All Blanks v. England. MAJESTIC THEATRE. “O’SHAUGHNESSY’S BOY.” ' The stars’ audiences loved in “Treasure Island” and “The Champ” are together again in “O’Shaughnessy’s Boy,” a moving tale of circus life, which commences its season at the Majestic Theatre to-day. Wallace Beery is O’Shaugnessy, the famous animal tamer in Hastings’ circus, who adores his wife Cora, a temperamental trapeze artist, and worships his young son. Stubby, played by Jackie Cooper. All goes well with the little family till the coming of Martha, Cora’s sister, a bitter spinster whose object is to take the boy and his mother away from circus life and the man for whom she shows her hate in no uncertain manner. A cruel and dominating character, Martha succeeds in prejudicing Cora against her husband, and tantalizes her to the point where she runs away with the boy, and leaves no trace or message. With her going, O’Shaughnessy becomes a broken man, loses his nerve and his power over the animals, and leaves the circus after a tiger has mauled and robbed him of an arm. Then follow months of wanderings, searching for his wife and little “Stubby”—a pathetic interlude that Wallace Beery gets every ounce of emotion out of in his inimitable way—and eventually, the news of Cora’s death and the finding of Stubby now a schoolboy and completely dominated by his Aunt Martha. For three months O’Shaughnessy is given the custody of his boy, and at the end of that time it will be for Stubby to choose whether he is to live with his father or his aunt. From the biased idea that Stubby has received of his father from Martha, he is determined to dislike him, and when the two return to the circus O’Shaughnessy has two things to fight—the enmity of his son and his lost control over the animals. How the problem solves itself brings the story to a charming conclusion, with a particularly thrilling circus ring scene at the finish. The supports include an interesting coloured travel film “Rural Mexico,” another of the popular “Crime Doesn’t Pay” series and two of the latest gazettes. CIVIC THEATRE. BRILLIANT VAUDEVILLE SEASON OPENS MONDAY. Embellished with a variety of acts presented by artists who, it is claimed, could hold their own in any company, “Birds of the Night,” a transcription of the Paris production, “Les Oiseaux de Nuit” will be presented at the Civic Theatre when the Hart-O’Brian Revue Company opens a limited season there on Monday evening. This show is reported to have earned tremendous success for over two years in Paris, where it was purchased by Mr O’Brian. He decided that it could be produced without its original Continental artists, and to uphold his contention it ran for some time in England. Australia enthused over it, as have Wellington, Christchurch and Dunedin audiences. Now Invercargill is to have a glimpse of practically the same show as shown in London. On her last visit to New Zealand a few years ago, Miss Janice Hart was purely a vaudeville artist, but in “Birds of the Night” she is said to score an extraordinary success in the part originally played by the famous Josephine Baker, whom she closely resembles. Mr O’Brian is principal comedian, and producer. Among the highlights of the production will be the Rumanian Velescos, who perform balancing feats and play musical instruments while in the most dangerouslooking formation; Desiree and Montigue will present a thrilling dancing act; the Orlandos, adagio dancers from the Winter Gardens, New York; Victor Sanderson, an amazing juggler; Dave James, the cigarette marvel; Boy Paul, the genius of the violin; Phyllis Jamieson, in dance acrobatics; Alexander Kellaway the musical comedy star from the London Hippodrome; Marie Doran, the Australian musical comedy star; Max Reddy, London’s light revue comedian; the Twelve Casino Girls, the famous ballet that has taken Australia by storm; Cecil Scott, the popular Australian revue star; Alma Aldous, from the London Palladium, and the Riviera Mannequins. More than 500 Parisian creations by the fashion designer Zenelli are displayed through this brilliant show. Box plans are at Begg’s, where big booking is proceeding. REGENT THEATRE, GORE. DOUBLE FEATURE PROGRAMME. Another splendid double-feature programme will begin at the Regent Theatre, Gore, to-day. “Freckles,” Gene Stratton-Porter’s best seller, is a veritable journey into a scenic wonderland. In its transmutation of the novel, RKO Radio selected the Mother Lode country of California for locating scenes. The story recounts “Freckles’ ’ search for happiness, his reward of a job with a lumber company, Mary’s love, and little Laurie Lou’s friendship. His search is danger-ridden, however, “Freckles” saving the little girl from a crashing tree at the risk of his life, and facing a desperate bandit mob in the thrilling climax, again to save Laurie Lou’s life. “Look Up and Laugh” is Gracie Fields’ latest merry musical comedy, which is considered greater than her previous screen triumphs, “Sally in Our Alley,” “Looking on the Bright Side,” “This Week of Grace” and others. The stpry is a most fascinating and amusing one, with Gracie attempting to save her father and brother, who eke out their livelihood by selling wares in the local market, and even this small pittance is threatened by a wealthy department store owner who uses his influence to have the market closed. Both pictures will be screened at the matinee this afternoon. ST. JAMES THEATRE, GORE. “A TALE OF TWO CITIES.” With Ronald Colman at the head of an amazing list of stars and featured players, one of the great photoplays of all time commences to-day at the St. James Theatre, Gore. It is “A Tale of Two Cities,” from Charles Dickens’ novel. The picture takes its place with the few great immortal photoplays of history, from which time is dated in screen annals. It is magnificent entertainment. Yet with a deftness that is almost inspired, the producers have not permitted the spectacular aspects to overshadow the human elements that make the picture truly great. It is the story of Sydney Carton, a brilliant wastrel, played by Colman, and his hopeless love for Lucie Manette, played by Elizabeth Allan. Even if Lucie were not in love with Charles Darnay, played by Donald Woods, the affair could not have reached a happy culmination. It was doomed from the start. There will be a matinee this afternoon. EMPIRE PICTURES, RIVERTON. “Mr Dynamite,” which will be screened to-night at Riverton, is one of the best “bafflers” of the year. Edmund Lowe plays the part of the dynamic roguish detective. It takes on a most delightful air with comedy to go with it. A good cast supports Lowe.