ENTERTAINMENTS

Southland Times, Issue 23229, 18 June 1937, Page 3

ENTERTAINMENTS

STATE THEATRE “THAT GIRL FROM PARIS” Novelty in musical pictures, with an hilariously funny story as a thread on which the world’s foremost coloratura soprano strings he. pearls of song, is offered to picturegoers in “That Girl From Paris,” which commences a season at the State Theatre today; Its brilliant cast is headed by Lily Pons, the worldfamous metropolitan grand opera star, together with Jack Oakie and Gene Raymond. Breaking away entirely from the customary type of musical comedy, the new offering turns out to be a gay laugh-feast from start to finish, with a notable cast aiding the tiny prima donna in her mirthful endeavours. The story begins in Paris, where Miss Pons meets a happy-go-lucky American saxophonist a moment after she leaves her fiance at the altar. The little singer follows her new friend to America, much to his consternation, and on eluding the immigration authorities, she makes herself at home with him and his musical associates. Fearful of implications with the officials, the boys face the problem of keeping her out of sight in a series of side-splitting situations, complicated by various jealousies as the plot develops. The climax is hilarious. Interspersed through the high-speed story are Miss Pons’s magnificent renditions of Strauss’s “Blue Danube,” “Una Voce Poco Fa” from “The Barber of Seville” by Rossini, Panofka’s “Tarantella” and three modem numbers by Arthur Schwartz and Edward Heyman, “Call to Arms,” “My Nephew From Nice” and “Seal It With' a Kiss”—all of which promise to achieve new and greater fame everywhere. Miss Pons herself is as brilliant an actress and comedienne as she is a singer, and her performance is a delight. Gene Raymond turns in perhaps the best work of his career as the romantic saxophonist; and Jack Oakie has never clowned more effectively and with such evident enjoyment as he does in this, his most hilarious role to date. Mischa Auer and Frank Jenks as members of Raymond’s orchestra, Herman Bing as a road-house owner and Gregory Gaye as. Raymond’s Parisian rival are outstanding among the supporting players.

MAJESTIC THEATRE

THREE SMART GIRLS FIRST SCREENING TODAY Man proposes and woman disposes of him with swift dispatch, especially if he is a millionaire susceptible to the wiles of an international beauty who has her eyes on his bank roll. That, with amusing embroidery, is the theme of Universal’s comedy drama, “Three Smart Girls,” which opens at the Majestic theatre today. Three sisters, living on the Riviera with their mother, hear that their wealthy father, divorced for ten years, is paying ardent attentions to a renowned lady of diverting charm. Knowing that their mother still loves him, they rush to New’ York, to save “daddy” from entangling himself. They use strenuous methods, employing a Count to draw the beauty into an alliance which will prevent their father from marrying her. The situations run the scale from the ridiculously funny to the uproariously laughable, according to advance Hollywood reports. Through mistaken identity, another man is given the task of snaring the charmer'away from her prey. Deanna Durbin, a youthful songstress of rare promise, makes her screen debut in “Three Smart Girls.” She has the role of the youngest sister. The other two girls are portrayed by Nan Grey and Barbara Read. Binnie Barnes is seen as the fortune seeking temptress and her mother is played by Alice Brady. Ray Milland, cast as the sweetheart of one of the girls, sets the snare for Binnie. Charles Winninger is the millionaire father. Mischa Auer impersonates the Count;’ Nella Walker is the mother and John King portrays the fiance of the second sister. Henry Koster directed “Three Smart Girls” from the screen play by Adele Comandini and Austin Parker. Deanna Durbin sings three songs in the production, the well remembered melody, “11 Bacio” “My Heart Is Singing” and “Someone to Care For Me.”

REGENT THEATRE

“GOLD DIGGERS OF 1937”

SONGS, GIRLS, GAIETY

“The Gold Diggers of 1937,” which bgeins a season at the Regent Theatre on Saturday, has been described as the most elaborate picture of a famous series. Profiting by the previous experience, the producers have achieved a balance between dance, music, comedy and narrative. Dick Powell and Joan Blondell are the stars, and they are supported by Osgood Perkins, Lee Dixon, Glenda Farrell and Victor Moore. The story is to some degree a satire in high-pressure salemanship

methods. It tells of a harassed theatrical magnate who, as he is apparently dying, is persuaded by some not over-scrupluos associates to take out a 1,000,600 dollar insurance policy. The success of securing the business falls to Dick Powell, who registers his emotion in a highly entertaining manner. The magnate’s backers then endeavour to hasten his end in order to secure the capital of the policy, and it becomes Powell’s duty, as the agent of the company, to preserve the valuable life as long as possible. The battle between the opposing sides for the life of the unfortnuate man is productive of many delightful scenes. Dick Powell has several new numbers to sing, and he treats them with his usual aplomb. He also shows that he has profited by. the past, and is now a thoroughly convincing actor. The ballets, created by that master, Busby Berkeley, are some of the most spectacular he has produced.

“SANDERS OF THE RIVER” PAUL ROBESON AS BOSAMBO “Sanders of the River,” showing finally at the Regent Theatre today, has come to be recognized as one of the best achievements of the screen. Based on the popular Edgar Wallace stories of the same title, it deals skilfully with British rule jn Africa. Paul Robeson plays Bosambo, the big, lovable native who helps the miracle-working British Commissioner, Sanders (Leslie Banks), maintain peace among the warring tribes of the Congo. Nina Mae McKinney is seen as Lilongo, the beautiful slave girl whom Bosambo makes his bride. The picture was almost entirely filmed in the African Congo, where the director led a location unit, and shot many scenes depicting tribal rites, dances and • chants never before recorded. Several tribal chiefs and some 20,000 natives took part in the film. Magnificent river and jungle scenery provides the background for a picture which has many stirring incidents and a story that moves to a dramatic climax. Paul Robeson has never sung better than in the warlike chants and native laments which are a feature of this outstanding film.