AT THE THEATRES

Southland Times, Issue 23377, 8 December 1937, Page 8

AT THE THEATRES

COMING ATTRACTIONS “Romance in Paris,” which comes to the Regent Theatre on Saturday, is the first picture made by Mervyn Le Roy in his new status of producer. It is a swift and humorous romance in which Fernand Gravet, the famous continental film star, plays the role of a spendthrift young ex-King who, having lost his throne and kingdom, turns to the gaieties, of Paris. Then comes his troublesome romance with an American chorus girl, played by Joan Blondell. Among others in the cast are the inimitable Edward Everett Horton as the worried uncle of “King Alfred, the Seventh,” Mary Nash as his aunt, Alan Mowbray as a pseudo-suitor for. the, chorus girl, Jane Wyman as her friend, and Luis Alberni as a waiter with an accent heavier than the trays he carries. Two new melodies have been composed for the musical scenes, and there are some good dancing numbers. Gaiety is the keynote of this quickmoving producfion. Directed by Mervyn Le Roy. A Warner Bros. Picture. * * * *

Romance comedy, some of the finest character portrayals in years, and thrills of a thundering <race-track, are highlights in “Saratoga,” the picture which brings Jean Harlow and Clark Gable to the Majestic Theatre on Saturday. Never was Jean Harlow lovelier. Never has the virile Gable been given a greater opportunity than as the “square gambler and bookmaker in the new race-track story. “Saratoga” tells the story of the spoiled daughter of a wealthy horse-owner, and a gambler and bookmaker whom she first hates, fights, then loves. The background of the swift action ranges from penthouses and a London hotel to a Kentucky horse farm, the Saratoga racetrack and famous races on tracks in various parts of the United States. The racing climax, photographed by special equipment, provides a genuine thrill. Metro-Goldwyn-Mayer gave the picture an elaborate cast. Frank Morgan and Una Merkel are seen together as a comedy team for the first time, and more laughs as well as a song are contributed by Cliff Edwards and his ukulele. Other players are Walter Pidgeon, George Zucco and Jonathan Hale.

Directed by Jack Conway, A Metro-Goldwyn-Mayer Picture. * * * *

The three cowhands from the Rio Grande who were responsible for most of the comedy in “Rhythm on the Range” are together again in Paramount’s “Waikiki Wedding,” a gay romance of love in Hawaii which will begin at the State Theatre on Friday. They are Bing Crosby, Bob Burns and Martha Raye. The cast also includes Shirley Ross and more than 250 chorus girls, natives, especially performers and musicians. Burns and Miss Raye fall in love again the same as they did in “Rhythm on the Range.” The story deals with the romance of a contest winner, played by Miss Ross, who wins a trip to Waikiki with a pineapple recipe. Miss Ross doesn’t like Waikiki, and is about to walk out on the whole business when Crosby, who is Press agent for the pineapple concern, and who conceived the contest as a publicity stunt, is prevailed upon to take Miss Ross in hand. He proceeds to make Waikiki romantic and glamorous for Miss Ross —so much so that he falls under the spell himself. The climax comes when reality clashes with fantasy and Bing has to produce a Waikiki which doesn’t exist. Directed by Frank Tuttle. A Paramount Picture.

Will Hays is known to radio listeners as the comic school master, and since his appearance on the screen he has won rapid popularity as a comedian. Continuous laughter accompanies his antics in “Windbag the Sailor,” which opens at the Civic Theatre on Friday. This time there is fun on the high seas, and Hays is shown amid the dangers of a cannibal island. As usual he finds himself in difficulties which would quench a less buoyant spirit. But even shipwreck cannot subdue Will Hays. This is the best kind of English comedy, planned in the spirit of fun, and developed through a series of hilarious situations. There is an admirable supporting cast. Directed by William Bandine.

Fredric March, Warner Baxter and Lionel Barrymore are starred in “The Road to Glory,” with a supporting cast that includes June Lang and Gregory Ratoff. This picture, which begins a return season at the State Theatre next week, tells a gripping story of love in wartime. Warner Baxter is shown as the war-weary commander of a regiment. June Lang, in the part of an attractive French nurse, provides him with his only interest in life. Unaware that Baxter cares deeply for the girl, Fredric March unwittingly falls in love with her. The triangle creates a crisis between the two men, which is deepened when Baxter discovers that his father (Lionel Barrymore) is a private in the regiment. In the final spectacular scenes all problems are solved by the chances of war, but not before the characters have reached high levels of courage and self-sacrifice. The battle scenes are realistic and exciting, and the story develops quickly in an atmosphere of danger. Directed by Howard Hawks. A 20th Century-Fox Picture. “Draegerman Courage,” a romance of the goldfields, will be presented in a double-feature programme at the Regent Theatre today. Anthony Coldeway, who wrote this story, evidences his understanding of the way in which erring humanity can rise to the stature of the gods when confronted with the misery of his fellow man. “Draegerman Courage” is a melodrama of the mines, telling how the men entrapped in the bowels of the earth are brought back to the sunlight by the self-effacing bravery of their fellows. Barton MacLane has the leading role. In addition to its breath-taking action, the story carries a heart-warming romance which grows up around a young girl who battles at the side of her sweetheart through long dreary days and nights to rescue the victims one of whom is her father, from a caved-in mine. The picture shows realistically the desperate courage of the Draegermen—a picked organized rescue crew named after Draeger, the man who invented the tools of their merciful trade. Jean Muir supports Barton Mac Lane and there is a large supporting cast including Henry O’Neill, Robert Barrat, Addison Richards and Helen MacKellar.

Directed by Louis King. A Warner Bros. Picture.

The story of “Craig’s Wife,” now showing in a double-feature programme at the Majestic Theatre, has all tine ele-

ments of drama. Harriet Craig (Rosalind Russell) has married her husband, Walter (John Boles) in cold and calculating fashion. Her home is the one definite thing in her life; she closes its doors to Walter’s friends, watches over her furniture and belongings, and makes the Craig home visibly gorgeous but inwardly unwholesome. Walter is deeply in love with her and refuses to see the faults that are turning him into something around the house. But presently he enters on a long process of disillusionment which has its crisis when he ’ comes under suspicion of murder and is told bluntly by his wife that she doesn’t care whether he is guilty or not, as long as no scandal touches the Craig home. From this point the story moves to a final situation of great emotional power. Rosalind* Russell and John Boles do fine work in this unusual picture and are ably supported bv a cast including Billie Burke, Dorthy Wilson and Robert Allen.

Directed by Dorothy Arzner. A Columbia Picture.

If ever there was a “hundred per cent.” variety show, that show must be the new radio musical “In Town Tonight,” which comes to the Civic on Friday. Seldom before has any place of entertainment, be it music hall, cinema or stage, boasted such a splendid array of talent as this thoroughly entertaining all-star production. Heading the list are no fewer than four celebrated bands: —Dave Appollon and his Romantic Serenaders, who provide an unusual brand'of dance music almost entirely on Hawaiian stringed instruments; Howard Jacobs, the renowned American saxophonist, with his orchestra; Billy Merrin and his Commanders, and the Kneller Hall Military Band. Added to this list are such popular radio and musical fiall favourites as Stanley Holloway, Jack Barty, Tessa Deane, Olive Groves, Arthur Prince and “Jim” and the Carson Sisters, to mention only a few. To quote the words of an English critic who saw “In Town Tonight,” “there can be no doubt whatever of the popularity of this capital show, which gives, in the form of variety on the screen, something which could never be given in a variety house in such abundance and such quality.”