THE REGENT.

Taranaki Daily News, 18 November 1930, Page 11

THE REGENT.

MATINEE TO-DAY 2 P.M. Any picture which brings John Boles’ magnificent voice to an audience is bound to be good entertainment. When, in addition, it hae an- appealing romance, magnificent drama, and a theme like the “Marseillaise” song, there isn't much left to be desired. “Captain of the Guard,” showing at The Regent, New Plymouth, again to-day at a matinee at 2 p.m. and finally to-night ie a dramatic musical spectacle in all-sound, of the biggest episode in French history. The theme is the spirit which led to the revolution, as typified by the birth of “La Marseillaise” itself. The song by all odds the most stirring piece of music ever written, is the glorious drama upon which the film is built. The story of “Captain of the Guard” was written by Houston Branch from the romance of history itself—how a young captain of the King’s Guards/ in love with.. Marie Marnay, who later became the. flaming girl: leader of the revolutionists, wrote-.the immortal song which led to the liberty of a nation. Laura i La Plante plays the part of Marie Marj nay. There is. an accompanying supporting bill. . . ■’• ’ COMMENCING TO-MORROW. Paramount’s latest comedy-drama . success “Sweetie,” w’ill head the new programme at The Regent to-morrow (Wednesday.) night. Nancy /Carroll is starred and the supporting cast will include Helen- Kane, Jack Oakie, Stanley Smith and William Austin. “Sweetie,” w iich is full of catchy, songs and snappy dancing, tells of the fun that ensues when a chorus girl inherits a property that includes a college. You’ll like’.it. INGLEWOOD TALKIES. “PUTTIN* ON THE RITZ.” Something new in scenes of backstage life is promised in “Puttin’ an the Ritz,” the' United Artists’ all-dia-logue musical extravaganza starring Harry Richman, which opens at the Town Hall to-morrow night. This production contains not only the conventional glimpses of rehearsals and dressing rooms. It froes deeply into the lives of that interesting and curious band of folk—the professionals—shows them as human beings. It depicts them in poverty and riches, leads the audience to the little nooks and crannies of’ boarding-houses and theatrical hotels which they call home, and makes them real personalities. As a vaudeville team with many ups and considerably more downs, Richman, Joan Bennett/ James Gleason and Lilyan Tashman off fer some remarkable characterisations, with a great deal of comedy and many serious scenes. , ' ;