ENTERTAINMENTS

Southland Times, Issue 23001, 22 September 1936, Page 2

ENTERTAINMENTS

STATE THEATRE SHIRLEY TEMPLE IN “CAPTAIN JANUARY” New tunes, tantalizing new dances, and Shirley Temple in her most lovable role. Those are the entertainment delights of “Captain January,” at present playing to capacity houses at the State Theatre. Adapted from the beloved tale by Laura E. Richards, the new picture i has a dramatic story underlying the song, dance, and comedy of this new story, in which Shirley plays the part of the orphaned daughter of an opera singer, lost in a wreck off the rocky Maine coast, where Shirley, who was washed ashore when a baby, is given a home by Guy Kibbee, a lighthouse keeper. As a merry, lighthearted child of six, she is the old man’s sole light and joy in his old age. Slim Summerville, as the captain s companion, aids in the upbringing of the child, “Star,” as she is known. The dramatic episodes surround the efforts of a truant officer (a typical Sarah Haden part) to take “Star” away from Kibbee and place her in a school, and the subsequent loss by Kibbee of his job as lighthouse tender. The climax is a perfectly-timed one. One has almost given up hope for “Star” in the hands of the truant officer when a delightful turn of events leads to her rescue, and the end could not have been more delightful, although it differs here from the book. Shirley performs a series ot tinkling new steps, and sings three grand new songs. The hit of the three, all with music by Lew Pollack, is the Right Somebody to Love. Buddy Ebsen, of “Broadway Melody fame, is Shirley’s new dancing partner, and together with June Lang, he supplies the romantic element. Two uproarious comedy scenes are those in which the two old sailors attempt to coach the little girl for her school examination, ana. in which the same three give a rendition of the sextet from Lucia di Lammermoor.”

MAJESTIC THEATRE.

“THREE LIVE GHOSTS.” A DELIGHTFUL COMEDY. Seldom has a funnier or more completely entertaining picture been presented than “Three Live Ghosts, which is now drawing packed houses to the Majestic Theatre. 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. “Three Live Ghosts” is a story of three soldiers—an American, a cockney, and a titled Englishman “queer” 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. “Three Live Ghosts has a London setting, and the story opens an Armistice Day, 1918, when three war-wearied soldiers, who have been reported as “dead,” arrive back in England after having escaped from a prison camp in Germany. One of the trio is a shell-shocked officer, who is suffering from loss of memory and whose identity is a mystery. He is called “Spoofy” by his companions, and he has developed a distressing habit of “stealing” anything he can lay his hands on, greatly to the embarrassment of his friends. This failing results in all sorts of awkward situations and is the source of much of the mirth in which the picture abounds. The other soldiers are a typical cockney and an American, who had fled from his country believing he was “wanted” by the police and who had enlisted in the British Army under an assumed name. The role of the American is played by Richard Arlen and that of the cockney by Gus McNaughton. “Spoofy” is portrayed by the inimitable Claude Allister, who never fails to raise a laugh. He makes a delightful English “Johnny” and in this new version of “Three Live Ghosts” he surpasses all his previous achievements. As Mrs Gubbins, the cockney mother, whose ambition in life is to make “easy money,” Beryl Mercer is admirably cast. Other parts are enacted by Cecilia Parker, Nydia Westman, Dudley Digges, Jonathan Hale, Lillian Cooper, and Robert Greig. The supporting pictures also set a high standard of entertainment. They include an attractive Colourtone Revue, “La Fiesta de Santa Barbara,” an Our Gang comedy, and an instalment of the “Empire News Ser-

vice,” giving graphic glimpses °f “P" portant events on the other side of the world, “RIFF-RAFF.” A VIVID DRAMA. Two outstanding stars will be seen at their best in “Riff-Raff,” which comes to the Majestic Theatre to-mor-row. Jean Harlow is cast as a belle of the waterfront, a blunt wise-cracking girl, who has her own standard of morals —and her own methods of keeping to that standard. Spencer Tracy is seen as a bombastic, egotistical fellow who thinks that the world is his oyster and the women of the world pearls created especially for himself. The story is a vivid fast-moving drama of the people of the streets, the “riff-raff.”

REGENT THEATRE. “THE AMATEUR GENTLEMAN.” TAP-DANCING ON THE STAGE. The refreshingly light touch of Jeffery Farnol is by no means lost in its transmission to the screen —in fact, in some respects, it is enhanced. “The Amateur Gentleman” is one of his most entertaining works, and the screen version, which is to have its final screenings to-day at the Regent, receives skilful treatment from Douglas Fairbanks, jun., Elissa Landi, and Gordon Harker. The rustic beauty of that part of the English countryside which has been associated with the Quakers since the days of the Pilgrim Fathers and with the name of the immortal Milton, was the setting chosen for the exterior scenes of this production. Chenies, Chalfont St. Giles, and Latimer, Old World villages _in the loveliest part of Buckinghamshire, have remained almost unchanged for the past two centuries. Here Douglas Fairbanks, jun., and Gordon Harker played their parts in surroundings exactly appropriate to their characters of Barnabas Barty and Natty Bell in the Regency period of the story. There is the flavour of maturity in these old houses, mills, bridges, and streets which no studio sets could supply. The Amateur Gentleman” is sterling entertainment, splendidly acted by an excellent cast. Douglas Fairbanks, jun., is perfectly cast as the hero of varied escapades. He looks the part, has a virile and romantic air, natural ease of bearing and speech, a dash of chivalry, and the ability to suggest an underlying strength of purpose. All excellent performance is also given by Esme Percy, as Townsend, a precious dandy and friend of the Prince Regent, Elissa Landi, as the Lady Cleone, wears both the Regency gown _ 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 film there is a programme ot short features well up to the high standard set by “The Amateur Gentleman.” Heading the shorts is a Walt Disney silly symphony, which can be classed as one of the best yet produced, while also on the programme is a Lindbergh travelogue and an entertaining comedy, “Smart Work. There is also an added attraction on the stage, an attractive dancing novelty act featuring several types of tap-dancmg done to “Modern Rhythm.”

CIVIC THEATRE. ANOTHER FINE DOUBLE-FEATURE bill. THRILLING DRAMA, BRIGHT COMEDY. A double feature programme of outstanding merit will be shown at the Civic Theatre to-day. The main feature is a Gaumont British film, “The Man Who Knew Too Much.” It is entertainment which keeps the audience at the highest pitch of excitement throughout. It was directed by Alfred Hitchcock, who has once again demonstrated his flair for the rapid action story with backgrounds of reality. Another advantage held by “The Man Who Knew Too Much” is that all the chief characters are collected on the screen and their relations established within a few hundred feet, with the result that the story swings from the very beginning. The story is human although its aspects are, fortunately for peace of mind, unusual. The father (with wife and little daughter) on holiday in Switzerland, obeying the dying behest of a Secret Service agent, finds and holds a vital clue to the intentions of a gang of terrorists who have planned to kill a foreign dignitary when he visits England. He knows too much and his daughter is kidnapped—if he reveals his knowledge, she will die. A highlight of the film is. the scene of a concert at the Albert Hall, when the audience knows that under cover of one great crashing chord in the music the villain is going to take a shot at the famous diplomat in the centre box. With brilliant ingenuity the director works up to his crash; the music swells, the trumpets, the cymbals, the drums get ready, the pistol gets ready, the diplomat leans forward ... By the time the shot. comes the audience itself is nearly screaming. The scene eventually shifts to the East End of London, where the trapped villains are besieged in a house by the police. A terrific street battle follows, and in the direction of these dramatic happenings Alfred Hitchcock is seen at his best A particularly strong cast enacts this fine story: Leslie Banks, Edna Best, Nova Pilbeam (heroine of “Little Friend”), Frank Vosper, Peter Lorre and others. Of a decidedly different type, but of equal entertainment value is provided in the second feature film. • That precious ass, Ralph Lynn, assisted by Robertson Hare, Gordon Harker and others, is absolutely irresistible in the farce “Dirty Work,” directed by Tom Walls. The film consists of a series of highly amusing situations. It is one of the best of the Ben Travers’s farces and that is its best advertisement. Last evening M. Chostiakoff made another welcome appearance on the stage of the theatre, captivating the big audience with the brilliance of his singing.

REGENT THEATRE, GORE.

“REDHEADS ON PARADE.”

With his starring role in the lavish Fox musical production, “Redheads on Parade,” which comes to the Regent Theatre to-night, John Boles emerges as one of the most versatile screen actors. First a singer, then, a dramatic actor, now Boles reveals himself as an accomplished dancer in the gala production number of “Redheads on Parade.” To tango, rumba and waltz versions of the new Jay Gorney-Don Hartman tune, “I Found a Dream,” Boles executes a series of catchy ballroom dances with his co-star, Dixie Lee. Opportunities for song, comedy and romantic playing are not lacking for Boles in this picture. The central plot of “Redheads on Parade” concerns a wild-cat movie producer and his publicity agent, who are attempting to launch Boles on the road to stardom. A nation-wide search for the most beautiful redheads in each State brings the 48 lovely redheads into the singing and dancing cast of “Redheads on Parade.”