CINEMA PROGRAMMES

Taranaki Daily News, 6 September 1935, Page 2

CINEMA PROGRAMMES

EVERYBODY’S THEATRE.

“NAUGHTY MARIETTA” SUCCESS

Golden-haired, golden-voiced Jeanette MacDonald and Nelson Eddy, brilliant baritone of the Metropolitan Opera company, score an outstanding success in “Naughty Marietta,” the film version of Victor Herbert’s operetta which is now showing to capacity audiences twice daily al Everybody’s Theatre. To heai’ Jeanette sing, “Ah, Sweet Mystery of Life” is something never to be forgotten. Seldom have plots given greater scope for artistry and vocal genius, and two operatic stars place it among the most pleasing productions the silver screen has yet presented. Metro-Gold-wyn-Mayer has drawn a story from the time of a later Louis of France. It is the story of a princess who is unwillingly betrothed but given a chance of escape as a State bride of an unknown colonist in the Americas. Incidentally pirates capture the mothers-to-be of a new colony and their rescue is effected by a back-woodsmen brigade. Eddy sings and fights his way into fame and his rich, melodious baritone makes him in a night the discovery of the talking picture era. “Chansonette,” and' the compelling “Italian Street Song” give him scope to display his talents, and, in the river scene his “I Am Falling in Love With Someone,” appeals instantly. As a musical operetta “Naughty Marietta” is a sheer delight which exceeds all expectations. A brilliant supporting propgramme includes Laurel and Hardy in “Going Bye-Bye,” Metrotone News (showing scenes of Lovelock winning “The Mile of the Century” against America’s best) and “Los Angeles, Wonder City of the West” (Fitzpatrick travel talk in colour). OPERA HOUSE TO-MORROW. “MARK OF THE VAMPIRE.” The age-old theory of the “undead” beings who leave the graveyard at night to prey upon the blood of men has had disciples throughout the ages and possibly may - still have a few, and it has always been a happy hunting ground for the teller of macabre stories. It has also become the happy hunting ground of the producer who wishes to make a terror thriller for the talking film, and Tod Browning, the producer of “Dracula,” has succeeded in giving a new interest to an oft-used theme in “Mark of the Vampire,” which begins at the Opera House to-morrow at 2 and 8 p.m. “Mark of the Vampire” tells the story of a detective who set out to solve a mysterious murder case and found himself pitted against an uncanny vampire cult. The cast is a brilliant one, headed by two of the screen’s powerful actors, Lionel Barrymore as Professor Zelen, a student of demonology, and Bela Lugosi as Count Mora, a character reminiscent of Dracula, Lugosi’s first great characterisation. Carol Borland appears as the beautiful but fearsome “vampire girl,” Elizabeth Allan and Henry Wadsworth supply the love interest, Lionel Atwill is the detective, Holmes Herbert and James Bradbury are the supporting “undead” characters, and other players of note are Jean Herscholt, Donald Meek, Jessie Ralph, Leila Bennett and Ivan Simpson. The supporting programme includes “Medium Irons,” featuring Bobby Jones, and “La Cucaracha,” an exquisite dancing and singing film, which introduces the latest technicolour process. Parents are warned that “Mark of the 1 Vampire” is not suitable for juvenile audiences. REGENT THEATRE. MATINEE 2 P.M. TO-DAY. “The Texas Bad Man” (Tom Mix) and “There’s Always To-morrow” (Binnie Barnes-Frank Morgan) will be finally presented at the Regent to-day at 2 and 7.45 p.m. “The Silk Express’ and “The Keyhole,” two Warner Bros.’ productions, will commence a season at the Regent tomorrow at 2 and 7.45 p.m. “The Silk Express” stars Neil Hamilton and Sheila Terry. The story deals with a battle between silk manufacturers and crooked financiers who do everything in their power to prevent the landing of silk at New York, where they have cornered the market. Guy Kibbee heads the supporting cast. Kay Francis and George Brent, who appeared with great success in “Living on Velvet,” are again costarred in “The Keyhole.” Miss Francis has the role of a gay young dancer who is married to a wealthy and extremely jealous society man, who hires a detective (Brent) to spy on her and with whom she falls in love. The screen play by Robert Presnell is based on Alice D. G. Miller’s story, “Adventuress.” Included in the cast are Glenda Farrell, Allen Jenkins, Monroe Owsley, Helen Ware and Henry Kolker. A further episode of “The Red Rider” will be screened at the afternoon session only. PLAZA THEATRE, STRATFORD. CHEVALIER TO-MORROW. “The World Moves On,” the latest Fox production, which was presented at the Plaza to a large and delightful audience yesterday, will be finally screened tonight. Franchot Tone, Madeleine Carroll and Paul Raulin are the featured players. Maurice Chevalier has never been seen to better advantage than in “Folies Bergere,” which opens at the Plaza Theatre to-morrow. The support of an excellent cast, together with some delightful musical numbers and a spirit of gaiety which never flags, make it outstanding entertainment. The presence of the inimitable French actor in the cast of a musical film always gives it a sparkle which is often missing in pictures of this kind. In the present production he is more impudently attractive than ever, and comes through a performance which calls for considerable acting ability with credit. The film is more than a musical picture, for a complicated plot runs through it that gives rise to many intriguing situations and bright dialogue. The dual personality plot, that has been exploited in many productions, is developed by a series of deft twists, until Chevalier is ultimately called on to play what amounts to a quadruple role. He appears first as Charlier, a popular music hall artist, and then as Baron Cassini, an aristocratic financial leader, whose fortunes are threatened through the failure of a mine, and who is called away at a moment’s notice to enlist aid to save himself from ruin. His presence is urgently required at Paris, however, where he was to have given a reception to the Premier, and in the emergency the actor Charlier is called upon to impersonate him. The plot proceeds at a rapid pace, which holds the attention throughout, and eventually the novel situation arises of Cassini impersonating Charlier impersonating Cassini. The musical numbers with which the film is interspersed, are all tuneful and well presented. The bustle and glitter of a production at the Folies Bergere, where Chevalier himself formerly appeared, is well captured, and two of the numbers staged there, “Rhythm in -the Rain” and “Singing a Happy Song,” in which the popular Frenchman’s straw hat is used as the pr .vailing motif, are particularly effective. Other appealing songs are “1 Was Lucky,” “Au Revoir L’Amour” and “You Took the Words Right Out of My Mouth.” Merle Oberon gives a striking performance as Cassini’s wife, while the charming Ann Sothern, as Charlier’s beautiful, but jealous, dancing partner, acts with great vim, as well as singing and dancing attractively.