ENTERTAINMENTS

Southland Times, Issue 23024, 19 October 1936, Page 12

ENTERTAINMENTS

STATE THEATRE “JACK OF ALL TRADES” Jack Hulbert is at his effervescent best in “Jaek of all Trades,” his latest picture, which opened a season at the State Theatre on Saturday. In many ways this is his best picture. He sings and dances in the typical Hulbertian manner, but the story gives him more scope than those of his previous pictures to show his decided ability as a comedian. It is all a glorious joke at the expense of “big” business men and Hulbert’s burlesque of their methods is responsible for some roaring farce. He appears as an enterprising young Londoner, who poses to his old mother as an influential business man, but who, in reality, possesses no office, and barely knows where his next meal is to come from. He applies for a job as a waiter. Going to the address indicated on the employment bureau card, he finds himself mistaken for a n guest, and, by cheerfully perpetuating the error, passes a delightful evening. One of his fellow-revellers is secretary to the chairman of a bank. This gives the bright young ne’er-do-well an idea. Having masqueraded successfully at the party, why should he not pass himself off as an employee at the bank? The brazen effrontery with which he carries out the plan, and, by playing on the vanity or the gullibility of important people, actually launches the bank directors on a fictitious business deal of enormous dimensions, is superbly indicated in the story. Mr Hulbert gives a good deal of sparkle to the dialogue. He is supported with gloriously humorous effect by Robertson Hare, as the secretary, and by a troop of old gentlemen who represent, with every appearance of authenticity, the respectably decayed functionaries of an English bank. Gina Malo brings piquancy to the scene as feminine lead. The dances are pleasantly cheerful. The plot provides boundless opportunities for the type of buffoonery in which Hulbert excels, and when the chairman’s secretary is none other than the nervous Robertson Hare the film becomes even more hilarious. Time after time the audience is convulsed with laughter as Hulbert convinces a meeting of hard-headed business men with a torrent of meaningless words, does an eccentric dance on a moving belt-con-veyor, or frolics with Robertson Hare on a fire escape while the heroine sizzles on the roof of a burning building. There is an excellent programme of short subjects.

REGENT THEATRE “GIVE US THIS NIGHT.” A FEAST OF SONG. A feast of song admirably describes “Give Us This Night,” the main attraction of a superb programme showing at the Regent Theatre. Patrons of this theatre on Saturday night saw an excellent variety of interesting supports—eight in all—while glorious music, polished acting and flawless photography combined to make the main feature a film rare and delightful. The principals are well known to those who appreciate musical films. Jan Kiepura, who has hitherto appeared in British productions, won admiration throughout the world in “Tell Me Tonight” and Gladys Swarthout, coming from the Metropolitan Opera House, made her first screen appearance in “Rose of the Rancho.” Both are the possessors of magnificent voices and reach great heights in the spectacular finale, which is the balcony scene from “Romeo and Juliet” — a grand denouement of triumphant song! Kiepura plays the role of Antonio, a Neopolitan fisher lad whose ambition is to become a famous singer. During a performance of “Il Trovatore,” Antonio throws an egg at the great tenor and is pursued by the local police, finally taking refuge in a church where his splendid voice, swelling the volume of “Ave Maria,” attracts the attention of a young singer, the prima donna in an opera which the composer, Bonetti, is about to offer to the world for the first time. Gladys Swarthout as Maria, the prima donna, has insulted the conceited tenor and naturally she asks Antonio to take his place. His ambition almost realized, Antonio begins rehearsing, but on learning that Bonetti is, like himself, in love with Maria, he slips unobtrusively away, and he is seen standing in the rain by the fishing fleet pouring out his sorrow in song. In the following scenes, explanations are made and Antonio returns in the last triumphant scenes with Maria. Six new songs were composed for the film .by Oscar Hammerstein. The principal players are supported by such polished actors as Phillip Merivale as Bonetti, Alan Mowbray as the unpopular tenor —whose best achievement is his “drunk” scene—and other notable players. Among a long and interesting supporting programme is a Grantland Rice Sportlight entitled “Winged Champions,” an amusing “Popeye The Sailor” cartoon, “Brotherly Love, a musical novelty, “Movie Melodies on Parade,” a Paramount pictorial and four topical newsreels.

MAJESTIC THEATRE WELCOME RETURN OF KAY FRANCIS. All too seldom is captivating, glamorous Kay Francis seen on the screen; but when she does make a welcome return audiences realize that her absence has made them grow still fonder of her. In “I Found Stella Parish,” the Warner Brothers’ production which opened at the Majestic on Saturday, this intelligent and talented actress has an excellent medium for displaying her ability, and to hear the murmurs of approval of the large audience as it dispersed was to have further proof that, given the right picture, there is no star with more magnetic appeal than Miss Francis. The story of “I Found Stella Parish” is simple enough, but with Miss Francis in the leading role and an outstanding cast to assist her there are frequent tugs at the heart strings, many gay moments and plenty to think about. She has to fight to hide a scandal which she knows would darken the life of her little daughter, but the man she trusts betrays her and she is separated from her daughter. Is it to be wondered at that her heart should grow bitter in the stress and turmoil of the unhappy life she leads? And who but Kay Francis could bring out the emotional shades in this intensely human drama? Towards the close the action quickens and the shadows lift, the climax being extremely interesting. Paul Lukas makes an admirable theatrical manager; lan Hunter, a clever British player, has an attractive role as a young journalist; and clever little Sybil Jason happily fills the role of the daughter. The first half of the programme leaves no room for criticism. Newsreels, a musical revue and a snappy cartoon complete a splendid programme.

THE CIVIC

FINE DOUBLE-FEATURE BILL. GRACIE FIELDS IN “THIS WEEK OF' GRACE.” Capacity houses at the Civic Theatre on Saturday enjoyed one of the best double-feature programmes that has yet been shown in Invercargill: “This Week of Grace,” starring the everpopular Gracie Fields and “If I Were Free,” with Irene Dunne and Clive Brook playing the leading roles. Both are outstanding pictures with outstanding casts. “This Week of Grace” is an admirable vehicle for the inimitable talents of Gracie Fields. It is a bright tale of love and laughter, replete with catchy song hits and humorous situations. In brief, the story is as follows: The Duchess of Swinford, a kind-hearted but eccentric old lady, has entrusted the management of her estate, Swinford Castle, to her stepsister, Lady Warmington, and the latter’s son Clive, Lord Swinford. In a north country town, where the Duchess has a house, there also resides the Milroy family, consisting of Mr and Mrs Milroy, their daughter Gracie and their son Joe. Mr Milroy and Joe run, somewhat unsuccessfully, however, a small garage and Gracie works in a local factory. One day Mr Milroy reads that a city typiste has been left a large fortune by an old gentleman, who usedj to travel to work in the same bus with her and for whom she had occa-l sionally done small services, such as helping him across the road and carrying his bag. Gracie thinks that this is a very easy way to acquire a fortune, and the following morning she endeavours to do the same service to an old gentleman getting off the bus. Unfortunately, he turns out to be a bank manager and threatens to give her in charge for attempting to steal his bag. As a result Gracie is late for the factory and is summarily dismissed. She wanders into the park and takes a seat near a quaint old lady who is, in fact, the duchess herself. They get into conversation and the duchess becomes highly interested in her story. The next day a lawyer calls at the Milroy home and announces that an anonymous client has authorized him to offer Gracie the job of managing Swinford Castle for the space of one year, and that, if she makes a success of it, there may be further benefits in store. So the Milroy family leave the humble street in which they lived and set out for a new life at Swinford Castle. What follows is both amusing and exciting and the audience is kept in a state of pleasant suspense until the wholly unexpected climax. Gracie Fields sings no fewer than four big songs during the picture. Henry Kendall, Jane Stewart and Helen Hayes head the supporting cast. “If I Were Free” describes a modem love affair.