ENTERTAINMENTS

Taranaki Daily News, 10 September 1934, Page 13

ENTERTAINMENTS

•s REGENT THEATRE. 1. s “THE LOST PATROL.” ’ r> ” A gripping drama of the trackless , desert and the burning sun, of a lone >, patrol of a British brigade cut off and i, pursued relentlessly by an invisible / enemy, is presented in the RKO Radio ; picture “The Lost Patrol,” now showing nightly at the Regent. Based on the . novel “Patrol” by Philip MacDonald, it i is as fine and staggering a dramatic work of its kind as any the screen has shown. Lost in the desert ocean of Mesopotamia, knowing neither' where they are or how they are going to return to the brigade, the little band fights on. The rugged character of the sergeant (Victor McLaglen) is thrown into : relief by the desperate position. Almost by accident they stumble on an oasis in the desert, but the silent, grim hand of the enemy reveals itself the first night, when the sentry is slain and the horses stolen. One by one in succeeding days the heroic band dwindles. In the end nerves go, as the losing fight goes on. The party is reduced to three. An aero-

plane flies tantalisingly overhead and lands, hut the pilot is shot dead as he steps to the ground. The story works up to a great climax, until the sergeant, grim defender of the oasis, alone is left to greet the search party. Victor McLaglen by his splendid acting dominates the cast. Boris Karloff is the religious crank, Sanders, Wallace Ford the impressionable Morelli, the last to go, and Reginald Denny complete the cast. This is one of the best pictures of adventure and excitement ever made. The supporting programme includes Pathe News and travelogue, while "Derby Decade” is an all-musical “short” in which Ruth Etting sings to great effect. There is also an entertaining cartoon entitled “Cubby’s Stratosphere Flight.” EVERYBODY’S THEATRE. “RED WAGGON.” Presented at London before H.R.H. the Prince of Wales, who graciously attended, the world premiere, “Red Waggon,” British International Pictures’ screen adaptation of Lady Eleanor Smith’s great romance of circus life, was given its New Plymouth premiere at Everybody’s on Saturday, when this thrill-packed story met with a most, enthusiastic reception. “Red Waggon” is a most unusual film in many ways, and is probably one of : he most realistic pictures ever offered :

for public entertainment. The cast, which includes 25 featured players, is exceptionally .strong; the plot is vivid and gripping from start to finish, and the whole show is produced in a most lavish scale. The “Red Waggon” tells of the ambitions and loves of a circus owner, whose whole life is almost wrecked by the faithlessness of those whom he loved. The acting of the stars is unforgettable. Greta Nissen, the beautiful Norwegian, is seen as the tiger woman, whose apparent faithlessness causes the first unhappiness in the life of the circus owner, Charles Bickford. Both these stars give flawless performances and manage most successfully to live every, second of their respective roles. The alluring Raquel Torres, as the gypsy girl who marries the circus owner and then leaves him for her lover, could not be bettered in the part. Others prominent in the cast are Don Alvarado, Anthony Bushell, Amy Veness and a young boy, Jimmy Hanley, who is excellent. The countryside scenes in the film are truly beautiful and the circus portions realistic to a degree. Among the most exciting of all is that in which Miss Nissen 1 oatties with tigers in their cage. It is 1 realistic to the point of being terrifying. < n addition to “Red Waggon” there is an < ittractive supporting bill, including the s irst of the British coloured musical car- I oons, “Puss in Boots,” which bids fair/ I o rival the famous Silly Symphonies. < I

1 5 “THIS MAN IS MINE.” • OPERA HOUSE ATTRACTION. ; How many wives have tried to get ; their husbands out of the rut of old glam- ■ orous love affairs and early attractions I and failed? “This Man is Mine,” pre- ; sented to an appreciative audience at the i New Plymouth Opera House on Saturday night, is the story of one who suc- . ceeds through unlikely methods that at first predict failure. Irene Dunne as the ; loving and adoring wife uses her beauty and ability to act to the fullest advantage. Her large, easy-going but likeable husband, Ralph Bellamy, takes a part | of some difficulty but comes through with flying colours, while the vamp who causes all the trouble from Start to finish is played by Constance Cummings. A fine series of shorts including a flash of the All Black v. Australia Rugby match and a laughable comedy, “Strictly Fresh Yeggs,” completes a good evening’s entertainment. WILLIAMSON’S OPERA COMPANY, 1 1 TWO MUSICAL PRODUCTIONS. ] 1 To-morrow night at the New Ply- i mouth Opera House the J. C. William- i son, Ltd., management will present the '

gorgeously mounted and very musical comic opera "The Dubarry,” and on Wednesday night Strauss' beautiful and stupendous musical play “Waltzes from Vienna.” The company, which numbers over 100 people, and which includes the brilliant young London prlma donna Miss Sylvia Welling, was acclaimed at Auckland as being by far the best organisation of its kind which has ever appeared in New Zealand under the Williamson management. Miss Welling made a sensational triumph in London when she was called upon at short notice to play the leading role in “The Dubarry.” There is every reason why “Waltzes from Vienna” should be successful. It has such variety of entertainment to offer. The subject itself makes an appeal to the average lover of comic opera, the 19th century Vienna of Strauss’ romance, and "The Blue Danube.” No foxtrot has ever done such emotional damage. The opera is full of good music, and, fortunately, the latest Williamson company possesses singers who can really sing. . Mr. John Dudley created a furore when he appeared in his first musical role at Sydney, and he quickly became the leading juvenile comic opera artist of Australia. Both Cecil Kellaway and Leslie Holland were specially selected for the characters they portray in the two operas to be staged here. The full operatic orchestra and chorus are under the direction of Leo Packer. The work of the ballet is an-

other feature of both productions. The box plans are at Collier’s.