ENTERTAINMENTS

Southland Times, Issue 23437, 18 February 1938, Page 14

ENTERTAINMENTS

THE CIVIC “THE LAST TRAIN FROM MADRID” Exciting adventure in war stricken Spain forms the theme of the new picture which has caused so much interest in the northern cities. There is no picture to compare with it unless it be the sensational “Shanghai Express. Actual shots of Madrid under fire and fighting around the adjacent countryside are included in “The Last Train From Madrid,” the first drama based on the Spanish strife, which opens tonight at the Civic Theatre. Paramount Pictures, producers of the film, rushed several camera men to Spain from its European office to join the contending armies and take actual fighting scenes. The cast of “The Last Train From Madrid” is headed by Dorothy Lamour, Gilbert Roland and Anthony Quinn, and includes Lew Ayres, Karen Morley, Lionel Atwill, Helen Mack, Robert Cummings, and Olympe Bradna. Ten people leave ten very good reasons why they should escape from Madrid on the last train to leave the stricken city. Wound up in the tangled predicament is a street waif, an American newspaper man, a deserter and a woman who is a member of the Death Battalion and others. How these fought for the one chance in thousands of getting away from war torn Spain makes most thrilling adventure and a very good movie. The atmosphere is considerably enhanced by war scenes actually taken on the spot. Patrons are especially asked to book at Beggs. MAJESTIC THEATRE “HOPALONG CASSIDY” FINALLY Clarence E. Mulford’s colorful cowboy Hopalong Cassidy in “Heart of the West” and Charles Ruggles and Mary Boland in The Paramount comedy “Early to Bed” will conclude a threeday season at the Majestic today. GRAND COMEDY TOMORROW G-MAN THRILLER A girl who runs away from her own wedding and a playwright who runs away from all women, discover, after many excruciatingly funny conflicts, that they cannot escape love, in the thoroughly enjoyable Universal romantic comedy, “The Man I Marry,” which opens at the Majestic theatre tomorrow. Doris Nolan, a brilliant new screen personality, is the capable star and her leading man is Michael Whalen. The humour of the picture rises from the situations and from the quick flashing dialogue. The laughs start when Doris Nolan, as the prospective bride, goes A.W.O.L. just before her marriage. The girl and the playwright are marooned in tire house for 24 hours during a tremendous thunderstorm. They are chaperoned by a pair of pleasantly, politely inebriated casual visitors, who add much to the fun. After many hilarious battles between the central figures, the author’s play scores a hit. The formerly irksome yoke of feminine domination becomes "a gladsome bond of nuptial bliss. Doris Nolan’s performance marks her as an actress of rare talent, as well as vibrant beauty. Michael Whalen delivers splendidly. The laughs are increased by the excellent comedy of “Chic” Sale, Skeets Gallagher and Cliff Edwards. Nigel Bruce, as the producer and Marjorie Gateson, his wife, contribute smooth performances. Gerald Oliver Smith is the rejected, dejected bridegroom. The most thrilling chapter in the screen exploits of America’s intrepid G-Men is unfolded in the associate feature Columbia’s “Trapped by G~ Men.” Jack Holt, the screen’s favourite he-man adventurer, stars as the service’s ace agent, with Wynne Gibson opposite him in the role of the first Gwoman to “get her man.” It’s a grand new slant on the G-Man type of film and adds immeasurably to the exciting romantic appeal underlying the film’s dynamic action. Both stars contribute outstanding performances in roles tailormade for their superb talents. “Trapped By G-Men” is an exciting experience in the theatre which no lover of redblooded action will want to miss. Plans are on view at H. and J. Smith’s, Rice’s Theatre Shop (telephone 738).

REGENT THEATRE “STELLA DALLAS” ANOTHER OUTSTANDING PICTURE “Stella Dallas,” the Samuel Guldwyn production which opens a four-day season today at the Regent Theatre, is a simple, yet strangely compelling, story of the problems of everyday l.fe—the real problems which face real people. The central figure of this screen play is Stella Dallas, a little mill girl, who after a brief romance, marries Stephen Dallas, a gentleman who has lost his money and is making a career for himself at the mill. A child is born, and the couple soon discover that Stella’s way of living is not compatible with Stephen’s ideas. His business takes him to New York, and Stella and her child remain in Boston. A time comes when Laurel, the little daughter of their marriage, grows up; and then it is that her mother’s conduct hampers her progress in life. Many disturbing incidents occur, but through them all the love of Stella for her child remains unimpaired. This is the redeeming feature of her character. The climax comes when she tries to regain her place in society. Returning in the train, she hears herself being discussed, and she decides that she must give up her daughter to her husband’s care, realizing that she is standing in her light. Barbara Stanwyck, as Stella Dallas, is said to reach the heights of her acting career in this role. It is without doubt the hardest part she has yet been called upon to play. Little Anne Shirley, as Laurel, comes next in order of merit for an outstanding interpretation, in keeping with the standard set by Miss Stanwyck. Alan Hale, as Ed Munn, the boisterous bookmaker, whose flirtation with Stella finally causes the break-up of the Dallas family, gives a splendid performance. John Boles, as Stephen Dallas, gives a fine interpretation of a sympathetic character. The final scene, with Stella watching her daughter’s wedding from the wet pavement, turning away, and the final squaring of the shoulders for the struggle of life by herself, without her beloved daughter, is a poignant moment, and marks the artistic climax to Samuel Goldwyn’s latest screen production. The supporting programme includes “Thunder Over the Orient,” a realistic and truthful record of recent events in war-torn China, two coloured films (one a Mickey Moure cartoon) and the latest Air Mail News. STATE THEATRE “ROSE OF TRALEE” BINKIE STUART’S SUCCESS Rich in musical entertainment, and introducing a refreshing new child star, Binkie Stuart. “Rose of Tralee” opened at the State Theatre at a gala midnight premiere last night. Altogether charming in the curls in her hair

and roguishness of her smile, and in the attraction of her personality, Binkie Stuart played her way into the hearts of all. The picture is “built round” her, and her handling of the big task presented to her shows her as a natural actress, giving character to any picture in which she is placed. “Rose of Tralee,” an Esstee production, is pleasing relaxation, with just the right admixture of sentiment, melody and humour. It will have an assured success in every Irish heart, if only in the big collection of favourite Irish songs that are part and parcel of the production. Most of the singing is done by Fred Conyngham and Danny Malone, who is already know throughout the world as an expert singer of Irish melodies. The songs include “Mountains of Mourne,” “Believe Me, If All Those Endearing Young Charms” and “Did Your Mother Come From Ireland?”; the rollicking “Down on Finnegan’s Farm,” the beautiful lyric, “Rose of Tralee,” and little Binkie Stuart in “Come Back to Erin” and “Daddy Wouldn’t Buy Me a Bow-wow.” The story is simple. It tells of a young mother and her child left to fend for themselves while the father goes to America seeking a chance to make a name for himself as a radio singer. They fall on hard times, but are befriended by an old Irish inn-keeper and others. The years roll past, and the husband, who has won success, tries desperately to find his wife and child, but without success owing to the efforts of his agent to keep them apart. He is finally assisted to find them by an American girl, who is herself in love with him. The story is pleasantly carried forward in its presentation of kindly characters and of humourous incidents, and the child star does her part admirably in keeping the audience entertained with her lovable characteristics and precocity. As the mother, Kathleen O’Regan is splendidly cast, and the other characters, too, have been well chosen; THEATRE ROYAL, WINTON Kicking shins, hurling tomatoes, busting windows and getting everybody in an uproar, Jane Withers, in all her glory, goes on a riotous rampage of mischief and merriment in “Pepper,” her new 20th Century-Fox picture. Aided and abetted by Irvin S. Cobb and Slim Summerville, “Ginger” Jane puts the “miss” in mischief, the “pep” in “Pepper” and the laughter in your life as a half pint Robin Hood of lower New York who, when she isn’t providing a volcanic eruption of excitement in the neighbourhood, cures a dyspeptic old millionaire, rights wrongs, and exposes a gang of fakers posing as nobility.