ENTERTAINMENTS

Taranaki Daily News, 8 November 1932, Page 12

ENTERTAINMENTS

EVERYBODY’S.

“THE LOVE PACE” FINALLY. The famous Drury Lane “comedian” Stanley Lupino, as Reggie Powley,, finds the undoing of a suitcase.his undoing in "The Love Race,” the brilliant British comedy screening finally this afternoon and to-night at Everybody’s. Jack Hobbs as Bobby Mostyn makes bad situations worse in his efforts to ease them. Dorothy Boyd as Ida Powley is a sorely puzzled girl. Dorothy Bartlam as Rita Payne becomes sister, wife and fiancee all in the space of an hour. Wallace Arthur as Ferdinand Fish gets a damping reception in more ways than one. “The Love Race” is exceedingly funny and should not be missed. "THE WOMAN IN ROOM 13.” Miss Elissa Landi, one of the screen's most popular personalities, made famous by her recent success in “The Yellow Ticket” and "Devil’s Lottery,” comes to Everybody’s to-morrow in “The Woman in Room 13.” Although "The Woman in Room 13” attained great success on the stage, it ptoves to be even more exciting and entertaining on the screen—particularly when such an actress as Elissa Landi takes the leading role. Telling the dramatic story of a wife who battles against the vindictive malice of a former husband and seeks the release of her present partner from prison, the picture gives Miss Landi unusual,, opportunities for her brilliant talents. With Miss Landi in this Fox picture are to be seen such outstanding favourites as Ralph, Bellamy, Neil Hamilton, Myrna Loy and Gilbert Roland. The picture is based on the Broadway etago production of the same name by Samuel Shipman, Max Marcin and Percival Wilde.

THE REGENT THEATRE.

"NIGHT WORLD” FINALLY.

“Night World,” Universal’s drama of life in a gay night club, will conclude its local season at The Regent, New Plymouth, to-night. Lewis Ayres and Mae Clarke, who captivated audiences by their performances in “Impatient Maiden,” are co-starred in this production. A large and varied supporting programme includes Slim Summerville in another of his rib-tickling comedies.

“LOVE LIES” TO-MORROW NIGHT.

Whether they are high, low or mid-dle-brow, filmgoers will laugh continuously and when they are not laughing they will be crying from sheer exhaustion, such a fund of humour do Stan-

ley Lupino and Lupino Lane provide for them in “Love Lies,” which commences at The Regent to-morrow (Wednesday) night. As Jerry Walker, a confirmed misogynist, Lupino makes his talkie debut, directed by his famous cousin, Lupino Lane. The fun is fast and furi-

ous, with Jerry flying from the passionate embraces of Junetta, a Spanish vamp, portrayed by Binnie Barnes, only to run bang into the machinations of his bosom pal, Roily and his wife, Joycej played by Jack-Hobbs and Dorothy Boyd. On the arrival of Roily’s

Uncle, who has forbidden him to marry, Joyce is foisted on to Jerry, and he finds this newly-married state embarrassing, to say the least, when his own uncle arrives complete with the lady he has chosen to be Jerry’s wife. Faced

with threats of a penniless future, Jerry and Roily put their heads together and form a plot into which is introduced the mysterious Madame Yvette, Jerry’s uncle, demands an introduction to the fair lady, and proceeds to “buy her off” his nephew, to the tune of £2OOO. The climax is reached when, with the cheque safely reposing in her trousers pocket, Madame Yvette is “discovered” to be none other than the luckless Jerry. But why go on? With a supporting cast, including Sebastian Smith and Dennis Hoey as the uncles, Wallis Arthur, Denis O’Neill, Charles Courtneidge and Arty

Ash, “Love Lies” is a film that picturegoers must not miss. “BARRETTS OF WIMPOLE STREET”

OPERA HOUSE, NEW PLYMOUTH. Only by sheer merit can any play hope to hold audiences aiowadays for a continuous period of over two years in London and New York, and this achievement stands to the credit of “The Barretts of Wimpole Street,” which vehicle will servo to introduce the noted London star, Margaret Rawlings, and her now English company, at the Opera House, New Plymouth, tonight, under the direction of Messrs. J. C. Williamson. “The Barretts of Wim-

pole Street” also held crowded and enthusiastic audiences in Australia for upwards of six months, and record seasons are now being registered in New Zealand. Margaret Rawlings, the brilliant young London star, who now definitely takes her place beside those eminent actresses known to New Zealand—Ethel Irving, 'Marie Tempest, Margaret Bannerman and Lady ForbeeRoljertson—is claimed to have achieved her supreme success as Elizabeth Barrett. Playing opposite to Miss Rawlings is the famous juvenile actor Mr. Barry K. Barnes, who gives a life-like portrayal of the part of Robert Browning, the illustrious poet. Mr. E. Billinden Clarke as Edward Moulton Barrett, another newcomer, is said to give an amazingly sound performance of the autocratic father of Elizabeth, his prayer at the foot of her invalid couch in Act I. being one of the most striking episodes of the play. The supporting artists, many of whom are making their first appearance in the colonies, include the Misses Mary Cobb, Mary Macgregor, Noel Boyd, Kathleen Goodall and Messrs. Kenneth Brampton, Richard Fair, Harvey Adams, Noel Boyd, John Wood, Leslie Jones, John Calder, Michael Hagen and Gabriel Toyne. The exquisite settings, the lighting effects, properties, and costumes have been scrupulously duplicated and a production in every way simi-

lar to the original London one may be looked for. The plan is at Collier’s.

NEW PLYMOUTH OPERA HOUSE.

“SAFtPER” STORY TO-MORROW.

When “Sapper” writes a story there is usually some kick in it, and certainly “The Impassive Footman,” which opens at the Opera House, New Plymouth, to-morrow, is no exception to the rule. The crux of it is that a spinal surgeon is caught embracing Mrs. Marwood on the eve of an operation on Mr. Marwood. The operation is a life-and-death venture performable only by this surgeon, who is the inventor of the technique; and Marwood must therefore trust his life to the man who has everything to gain by his death. The cunning, blackmailing way in which Marwood insures his life against any intentional slip of the surgeon’s hand is an important part of the plot. In the end he is checkmated by “the impassive footman.” Betty Stockifield-, a fine actress and a good dresser, is brilliant, and Allan Jeaves, as the husband, makes himself so thoroughly disliked that it is easy for Owen Nares to win the audience’s sympathy’' in his attack upon Miss Stockfield’s matrimonial fidelity. The footman, who is a silent avenger, walks through the story like a potent shadow, end George Curzon makes a stately .march of it, with an impressive finishing touch. There is far more cleverness in this picture than in most of the screen attractions of this type, and it is certainly a credit to British production.

INGLEWOOD TALKIES.

“HOT CURVES” TO-MORROW.

“Hot Curves” brings Benny Rubin, Rex Lease, Alice Day, Pert Kelton, Natalie Moorhead and other excellent screen artists to the Inglewood talkies to-morrow night in a story of baseball. It is a Tiffany all-talking production with music interpolations, directed by Norman Taurog, written by Frank Mortimer and released by Celebrity Pictures. The story begins in the train that is carrying the Cougar team south for its spring training. Jim Dolan, the son of a famous player, is a rookie eager to make good without any favours. He wins the admiration of Benny Goldberg, a candy vendor who gets in the team through a funny fluke, by being the only person who didn’t laugh at the photograph of Benny’s “Fadder and Mudder” who, he seriously informs them, “Vas died before he was horned.” Benny remains true to Jim through adventures that are romantic, thrilling and comic, and when Jim’s misconduct gets him temporarily suspended, it is Benny who gets him back again, and it is the two of them who at the last moment win the last game of the World series for the Cougars and capture the pennant-