AT THE THEATRES

Southland Times, Issue 23773, 22 March 1939, Page 8

AT THE THEATRES

COMING ATTRACTIONS Everyone who knows “More Than Somewhat,” which swept all London into its engaging net a year or so ago, will appreciate the fact that when Damon Runyon writes a story it is not like other stories. The film version of his latest story, A Slight Case of Murder,” will begin a season at the Majestic Thea tie on Friday. The title itself is evidence of his system of understatement, for the slight case of murder involves four bodies in one room. But the point is that they are found by a onetime racketeer who has grown respectable since prohibition (with disastrous effects to his business), but whose record is still not what it might be. A Slight Case of Murder” is played by a cast which is equal to its demands in every way. Edward G. Robinson, the “Little Caesar” of the screen, has the role of the reformed racketeer who has become “legitimate.” Ruth Donnelly is his wife, and her successive jolts to her memory that she is now “high-toned and her efforts to make her husband s henchmen play up to their new level are responsible for much of the humour. Harold Huber, Edward Brophy and Allen Jenkins (a triumph) are the chief members of the gang. The romance is left to Jane Bryan and Willard Parker, an attractive pair.

Directed by Lloyd Bacon. A Warner Bros. Picture. * * * *

The endeavours of a psychiatrist to play Cupid and marry off his best friend to a noted actress is the theme of “Carefree,” RKO Radio’s latest musical romance with Fred Astaire and Ginger Rogers in the stellar roles, beginning on Friday at the State Theatre. The scheme runs into unforeseen difficulties when the patient falls in love with her doctor instead of with . the man she is supposed to marry. Hilarious complications involving hypnotism, a skeet-shooting match, legal injunctions, and the wrecking of a nationwide radio programme, are among the comedy highlights of the AstaireRogers picture. Woven throughout the story are tuneful melodies by Irving Berlin, and four notable dance routines —Astaire’s solo Golf Dance, a fantastic Dream Dance, the romantic “Change Partners” number, and the “Yam,” the new popular ballroom step that is expected to replace most of the current dances. Ralph Bellamy heads the brilliant supporting cast, which includes the Broadway favourite, Luella Gear, Clarence Kolb, Franklin Pangbom and the new “find,” Jack Carson. Directed by Mark Sandrich. An R.K.O. Radio Picture.

Ambrose and his orchestra universally famed on the stage and radio, provide something new in the way of screen entertainment in “Kicking the Moon Around,” which comes to the Civic Theatre on Friday. Evelyn Dall, the blonde crooner, has a role which will present her to the public as an actress as well as. a singer; Harry Richman in his own inimitable manner provides lyrical highlights; and Florence Desmond in a part ideally suited to her imitative talents, in addition to the character she portrays is given scope to mimic Greta Garbo, Katharine Hepburn and Gracie Fields. The story concerns the efforts of a young millionaire to introduce to the public a little girl he has discovered singing in a chain store. He decides to ask Ambrose to sponsor her debut and the noted band leader’s efforts to avoid the millionaire’s demands lead to complicated and hilarious situations. When eventually his desires are fulfilled and the girl is about to make her first appearance before an audience, the young man’s former fiancee in a fit of pique steps in and contrives a situation which leads to further hilarity, finally bring 7 ing the whole company into Court, where Ambrose, by his melodious presence, is able to soothe the judge and free his companions. Directed by Walter Forde. A G.B.D. Picture.

Leslie Howard and Bette Davis have been seen together in a tragedy (“Of Human Bondage”), a melodrama (“The Petrified Forest”), and now they are about to present themselves in a comedy, “It’s Love I’m After,” opening on Saturday at the Regent Theatre. Howard is shown as a stage actor of the type that used to be called “matinee idol,” to look at whom all the sentimental young women of Broadway used to cluster about stage doors. Miss Davis is shown as his leading woman. They really love each other, but that does not prevent them from stealing every possible scene they can, and wrangling with each other in undertones while they are hypnotizing their audiences with their art. The beautiful and youthful Olivia de Havilland has the part of a smart and wealthy heiress who has fallen in love with Howard. The problem that has to be worked out is how to get Olivia out of her love-madness and restore her to the arms of her real fiance, played by Patrie Knowles. Directed by Archie Mayo. A Warner Bros. Picture.

Breezy in story, in movement and in the delineation of its characters, “The First Hundred Years,” now showing at the Regent Theatre, is one of the besttold comedy narratives of the season. The comedy combination of Robert Montgomery and Virginia Bruce is completely successful. Montgomery has never been better than as the boat designer who cannot persuade his wife, Miss Bruce, to give up her job as a theatrical agent to make a home for him. That the star can turn from “Night Must Fall” to the domestic high comedy of such pictures as “Live, Love and Learn” and “The First Hundred Years,” proves him one of the most versatile actors in pictures. Miss Bruce, given her best opportunity to date, handles her part with assurance, deftness and her accustomed charm. If anything, hers is the most difficult characterization. The smooth touch of the two leads is amply complemented by Warren William as Miss Bruce’s business partner.

Directed by Richard Thorpe. A Metro-Goldwyn-Mayer Picture.

With Barbara Stanwyck and Herbert Marshall in the leading roles, “Always Good-bye,” which begins a season at the State Theatre next week, is a superbly produced romantic drama. Miss Stanwyck, who will be remembered for her outstanding performance in “Stella Dallas,” is again seen in an absorbing dramatic role in which she climbs to new heights as an actress in such parts. Herbert Marshall also scores a brilliant success. As a kindly, sympathetic doctor he is excellently cast. The picture tells how a bride-to-he has the future she had been anticipating wrecked when her fiance is

killed before her eyes. From then on she drifts aimlessly until she meets a young doctor whose sympathy and interest give her a new interest in life. A 20th Century-Fox'Picture.

John Lodge, John Loder and Antoinette Cellier are the stars of “Ourselves Alone” (the English translation of the Sinn Feinn). The story is very similar to that of “The Informer,” which was the Academy Award winner for 1935. The subject of this production is of great interest, for it depicts in dramatic scenes the way in which political feuds disrupted families, separated lovers and spread danger and hatred across a troubled countryside in the bad days of 1921. An attractive romance is developed against the sombre background. Directed by Brian Desmond-Hurst and Walter Somers. A British Empire Films Production.