ENTERTAINMENTS

Southland Times, Issue 22998, 18 September 1936, Page 11

ENTERTAINMENTS

REGENT THEATRE “THE AMATEUR GENTLEMAN” f Everyone who has enjoyed the naive romanticism of Jeffrey Famol’s novels—and who has not?—will find complete enjoyment in “The Amateur Gentleman,” the screen adaptation of one of Farnol’s best selling stories, which is to have its first screening at the Regent Theatre this afternoon and evening. The film is an entertaining blend of romance and adventure, with striking and attractive period backgrounds, free from any suspicion of “olde worlde” extravagances. Famol’s work loses nothing by its screen interpretation. It has the same romanticism, a similar touch of adventuring, and all those pleasantly improbable “deeds of derring-do,” of the novel. The “Amateur Gentleman” is the son of an ex-prizefighter, brought up as a gentleman. He breaks sensationally into society in order to discover the truth about some missing pearls, for which his father has been arrested on a charge of theft, and, in accordance with the custom of the day, is sentenced to death. In the course of his quest he becomes a friend of the Prince Regent, the worshipper of the proud Lady Cleone, and the enemy of the suavely villainous Chichester At various stages of the story he is the hero of a knuckle fight, the instigator of a gaol break, and the quarry of Bow Street runners. Finally he unmasks the real culprit, the scoundrelly Chichester, and wins the hand of the Lady Cleone. English critics are loud in their praise of Douglas Fairbanks jun., whom they consider is absolutely right as the hero of these various adventures. The most outstanding individual performance of the supporting cast comes from Esme Percy as Townsend. a precious dandy and friend of the Prince Regent. Elissa Landi as the Lady Cleone wears both the Regency gowns and the Regency manner most effectively. Basil Sydney, as Chichester, performs the difficult feat of making a double-dyed villain a credible human being. Gordon Harker’s Cockney humour affords light relief against the more serious vein of the story, and as Natty Bell, Barnabas Barty’s best friend, he gives a lifelike characterization. In support of the main feature an extraordinarily good range of attractions will also be presented. Chief among the supporting films will be Walt Disney’s latest and best coloured symphony, “Cock of the Walk,” a frolic of absolute delight in which a ballet of chickens does the “Carioca.” On the stage a bright interlude entitled “Modern Rhythm” will be presented by the master and pupils of the School of American Tap-dancing. There should be no doubt about the popularity of this programme. 1 CIVIC THEATRE. A FINE PROGRAMME. The programme at the Civic Theatre is above the usual run of screen entertainment. That this fact is being recognized in Invercargill was shown by the large and appreciative audience at the theatre last night. The double feature bill contains everything that the entertainment-seeker could desire —comedy, romance, powerful drama, and an abundance of thrills. “Don’t Get Personal” is a rollicking romance in a car on the open road; a laughable story about two carefree lads and a lovely lass. Sally Eilers is seen as the impetuous girl; Jimmy Dunn and Pinky Tomlin are roving modern youths. Jimmy Dunn and Sally Eilers, who became famous in “Bad Girl” with roles which won them Motion Picture Academy awards, give a breezy, natural performance in “Don’t Get Personal.” They win the interest of the audience and then go on to convulse it with their wisecracks. Besides the rich humour of the situations and the lines, the picture offers music of contagious tunefulness. There are two numbers sung by Pinky Tomlin, “I Won’t Take No for an Answer” and “Barnyard Serenade.” The lightness of “Don’t Get Personal” is well offset by the powerful drama contained in “Oil for the Lamps of China.” The picture is even more enthralling that the best selling novel by Alice Tisdale Hobart upon which it is based. It has originality of plot, a colourful and intriguing background, and a romance as understandable as it is beautiful. There is thrilling action, strange adventure, with the spirit of pioneer men and women actuated by a burning ambition and loyalty to their jobs. A handful of Americans facing voluntary banishment from civilization, fighting flood, fire, famine, pestilence, banditry, and a hostile people, try to. break down the barriers of prejudice ingrained through the centuries. Pat O’Brien, as the young American whose unbelievable loyalty to the firm he represents makes no sacrifice too great, no hardship too terrific for him, adds to the list of screen characterizations that have raised him high in the ranks of outstanding stars. His admirers expect much of him, and he never disapopints them. Josephine Hutchinson, comparatively new to the screen, but a star of Broadway, proves her histrionic ability in the way she handles the part of

O’Brien’s wife, whose baby is bom dead during her husband’s absence.

SENIA CHOSTIAKOFF.

RETURN INVERCARGILL VISIT.

The success M. Senia Chostiakoff enjoyed at the Male Choir concert should be repeated at the Civic Theatre on Saturday night when he will make a special appearance in conjunction with the picture programme. M. Chostiakoff is an artist who would delight any audience, whether it be composed of the loftiest of highbrows or the lowest of lowbrows. There is no _ question about his popularity, while his singing is of a standard that appeals to, and wins praise from, the sternest critics. Already great public interest is being shown in his return appearance and the enterprise of the Civic management in securing his services should prove more than justified.

THE MAJESTIC.

“CRIME AND PUNISHMENT.”

One of the most powerful dramas of modern times, “Crime and Punishment,” an adaptation of Feodor Dostoievsky’s famous story, is at present proving a strong attraction at the Majestic Theatre. Dostoievsky’s story deals with the causes and effects of a. crime. He is a ragged university student who believes he can commit the perfect crime. He is starving and his sister is about to marry an obnoxious Government official for money. These forces combine to make him a criminal. He murders a wretched hag of a pawnbroker and robs her. It is stark drama, but possessing a power seldom seen. This is due to the inspired acting of Peter Lorre, as the criminal and the good work of Edward Arnold as the police inspector. Tala Birell and Marian Marsh have the chief feminine leads, and they are successful in their minor parts. Supporting the leading players Mrs Patrick Campbell gives a brilliant little sketch as the old pawnbroker. The other minor roles are also competently handled. There is an entertaining supporting programme of short features.

TO-MORROW’S ATTRACTION.

“THREE LIVE GHOSTS.”

Seldom has a funnier or more completely entertaining picture come to the Majestic Theatre than “Three Live Ghosts,” which commences tomorrow. Giving Richard Arlen one of his finest opportunities at the head of a notable cast, the picture moves with lightning speed through a series, of adventures which are at once hilarious, thrilling and romantic. In its earlier forms, the story was an international hit, first as a book and then as a play, but the screen gives it a scope and freshness that was impossible in its earlier presentations. “Three Live Ghosts” is the story of three soldiers—an American, a Cockney and a titled Englishman, “goofy” from shellshock, who return from the war after imprisonment in a German camp, to find themselves officially listed as “dead.” For varying reasons they decide to remain hidden behind this official cloak of anonymity. Their adventures as they move through London as living dead men, without names or identity, provide moments of hilarious comedy, lavishly sprinkled with romance and excitement. Cecilia Parker, the lovely blonde actress who has scored so decisively in “Ah Wilderness!” gives one of her finest performances to date, as Richard Arlen’s sweetheart, who finds him alive after she has been resigned to the thought of his death. The supporting programme is well up to Majestic standard. STATE THEATRE. DOUBLE FEATURE PROGRAMME. Although widely different in type, the two pictures which conclude a season at the State Theatre to-day both afford first class entertainment “Seven Keys to Baldpate” contains a grand mixture of thrills, laughter and eeriness. Magee goes to lonely Baldpate in order to prove that he can write a whole novel in 24 hours, the inn being chosen because he thinks he is assured of

peace and quietness through his possession of the only key. The fact that six other keys are held by an oddly assorted collection of individuals throws his calculations seriously out of gear. The popular Gene Raymond appears as Magee, supported by Margaret Callahan, Eric Blore and Grant Mitchell. In “East of Java,” the second feature on this fine programme, Charles Bickford is starred at Red Bowers, fugitive American gangster, who escapes from British East Africa on a wild animal cargo schooner. A typhoon sinks the ship and strands the crew on a desert island. The animals in the cargo also swim ashore, and becoming more ferocious because of a lack of food, they begin stalking the surviving humans. Supporting Bickford are Elizabeth Young, Frank Albertson, Leslie Fenton, Clarence Muse and others.

COMMENCING TO-MORROW.

SHIRT .EV TEMPLE IN “CAPTAIN JANUARY.”

A famous story becomes Shirley Temple’s greatest picture as the tiny, dimpled Fox star returns in “Captain January,” which comes to the State Theatre to-morrow. Five sessions will be held, in order that all may see this fine picture, which has broken all previous Shirley Temple records everywhere. Adapted from the beloved tale by Laura E. Richards, the new picture has a genuinely heart-tugging dramatic story underlying the song, dance, and comedy delight of this new story, in which Shirley plays the darling of two grizzled old sea-salts. Guy Kibbee, in the principal supporting role, plays the keeper of the lighthouse, the man who rescued Shirley from the sea years before, and now jealously fears that someone will take his darling from him. Due to the efforts of Sara Haden, as a vixenish truant officer, the dreadea thing almost does happen, but in the conclusion Slim Summerville, Buddy Ebsen, and June Lang conspire to make Shirley and her foster daddy happy. “The Right Somebody to Love” is the hit song of the new picture, composed by Jack Yellen and Lew Pollack. There are, however, two other delightful tunes sung by Shirley, as well as a fascinating series of new tap steps, many of which are danced in company with Buddy Ebsen, of “Broadway Melody” fame. THEATRE ROYAL, WINTON. Robert Armstrong suffered a swollen jaw as a result of the director’s demand for realism in the First National picture “G Men,” which will be shown at the Theatre Royal, Winton, to-night and to-morrow night. After several takes had been made of a sequence depicting James Cagney, star of the picture, knocking Armstrong down in a boxing match and- the director had expressed dissatisfaction with each, Armstrong drew Cagney aside. “Never mind pulling those punches, Jimmy,” he suggested. They went at it again, but this time Cagney let go and Armstrong hit the mat a terrific wallop a split second after the Irish actor’s gloved fist had connected with his chin. He took the count. “G Men” is the story dealing with America’s ruthless war against organized crime and is based on newspaper headlines. There is an all-star cast which includes besides Cagney and Armstrong, Margaret Lindsay, Ann Dvorak, Barton Mac Lane, Lloyd Nolan, William Harrigan, Russell Hopton and Edward Pawley.