AMUSEMENTS.

Taranaki Central Press, Volume IV, Issue 350, 3 February 1937, Page 8

AMUSEMENTS.

Plaza Theatre.

“San Francisco.”

“San Francisco.” Jeanette MacDonald, Clark Gable, Jessie Ralph, Ted Healy (M.G.M.)

The question, which so many women have confronted, of choosing between the bold, bad and very attractive man and the solid and really worthy one, is the pivotal point for Jeannette MacDonald in this spectacular film. As the dominant personality and champion of the rights of the under-dog in the days when San Francisco was considered ‘‘the wickedest city in the world,” Clak Gamble gives a virile performance; as his rival in romance and opponent in the world of affairs, Jack Holt affords a striking contrast with a restrained and kindly manner that is not lacking in force. Spencer Tracy dons the, for him, unexpected habilamenits of a priest and plays the part with magnificent sincerity. A word, too, for Ted Healy, who essays a straight comedy role, shorn of the “stooge” angle that marked many of his appearances in the past. Jessie Ralph infuses typical Irish -whimsicality into the character of Jack Holt’s mother, with a heavy dash of sentimentality. Jeannette sings and sings, until the very MacDonald tonsils pose for the camera as a fastmoving drama reaches a magnificent climax in the earthquake that altered the entire history of the city. This upheaval has been screened with magnificent realism in a picture that is a triumph for cast and for director, reach a moving- finale as Jeannette MacDonald’s voice brings the pathos of the survivors, clustered in anguished groups on the hillside in a simple rendition of hymn.

“San Francisco” shows finally at the Plaza to-night, ending a record season in which the “House Full” sign was in evidence every night. “Audioscopiks” Is Progressive. There threatens to be something more than ordinary laughter at the Plaza Theatre to-day when M-G-M’s “Audioscopiks” are screened tor the first time. Giving the illusion of a third dimension, the amazing novelty strikes an entirely aew note in talking screen entertSTnment. When a man pokes a stick into the audience, it’s definite to assert that every man jack will Instinctively duck. When a drunk on the screen appears to squirt a soda siphon right into the auditorium, one can almost feel the splash. It is necessary to watch ‘'Audioscopiks” through . coloured glasses, These are supplied fre.e by the management.

King’s Theatre.

“Sinister House.”

A fast-moving murder mystery, an exceptionally fine east, and a brandnew type of treatment, comprise the principal features of “Sinister House,” Preston Foster’s and Margaret Callahan’s head-lining vehicle

for R.K.O. Radio, which is to he shown at the King’s finally to-day. Erwin Gelsey’s screen play, based on the exciting novel by James Edward Grant, “The Green Shadow/” not only offers plenty of novelty in the way of an intelligent and maffling mystery story, but also affords Foster an unusually fine characterisation — one even more notable than his work in “The Last Days of Pompeii” and “Annie Oakley.” “Hi Gaucho.” One of the most vivid periods in the history of the Americans has been caught in its essence in the romantic Argentine musical, “Hi Gaucho,” shows to-night at the King's Theatre, with John Carroll and Steffi Duna in the leading roles, the story unfolds in 1800, when the southern pampas were nominally under the rule of Spain, but actually knew little law but that of courage and sharp-bladed weapons which reckless gauchos and roving bandits wore in their belts.

Five melodies by Albert Hay Ma lottee provide rhythm to the story.