CINEMA PROGRAMMES

Taranaki Daily News, 17 October 1935, Page 3

CINEMA PROGRAMMES

REGENT THEATRE. “MARIE GALANTE.” Ketti Gallian, slender, youthful, vivacious, makes her long-anticipated screen debut in “Marie Galante,” which is now showing nightly at the Regent. She has the qualities to place her among the really big personalities of the screen—beauty, talent, great personal glamour and charm. As the wistful “Marie Galante,” lost far from her homeland in a maze of international intrigue, always seeking to return to the dear France from which she has been torn, Mlle. Gallian creates cne of the most touching and poignant figures ever to reach the cinema. Spencer Tracy, forceful and dynamic, plays opposite her as the young American who at first tracks her down as a suspect, then comes to her defence. Together these two players weave a spell of authentic romance, to which is added the glamour of the story’s setting—the fabulous and vivid life of the Canal Zone, with its mysteries, its passions and its secret streets. One of the finest casts assembled in seasons has been recruited by Winfield Sheehan, Its producer. Such stellar players as Helen Mo?gan, Ned Sparks, Siegried Rumann and Arthur Byron have leading roles. “Marie Galante” is supported by “Wild Gold,” a human drama woven around a modem day gold rush. John Boles and Claire Trevor are co-starred. MARLENE DIETRICH FILM. NEW PLYMOUTH OPERA HOUSE. Colourful and exciting, “A Carnival in Spain,” the Paramount production at the Opera House featuring Marlene Dietrich, Lionel Atwill and Cesar Romero, is perhaps one of the most unusual -films shown at New Plymouth for some, time. With the gaiety and hilarity of a carnival week in the south of Spain, the story unfolds the adventures of a Spanish beauty, who captures the hearts of all men but gives no love in return. To her men’s hearts are but playthings to be picked up and dropped as would a child its doll. Among her victims is Lionel Atwill, an elderly man, who is nearly driven distracted by the treatment received at the hands ofMiss Dietrich. Learning that Cesar Romero, his young friend, has fallen in love with the siren, Atwill attempts to warn him of the danger that threatens him but Miss Dietrich succeeds in making a situation that causes the men to take part in a duel in Which one is seriously wounded under heroic circumstances. Her confidence shaken by the result of the duel, Miss Dietrich fails in further attempts to continue her previous existence. The climax in which the woman admits love to her life is unexpectedly sudden and undoubtedly unusual. Staged on lavish sets, the picture is well' enacted and Miss Dietrich gives one of her most convincing portrayals. The supports include Paramount News, “Is My Face Black” (novelty), “Animal Intelligence” (Sportlight), “Swat That Fly” (cartoon), Paramount Pictorial Varieties and “Dicky Dear” (comedy). STATE THEATRE. DOUBLE FEATURE PROGRAMME. A splendid double feature programme opened • at the State Theatre last night. An action picture never, fails to appeal and “Hard Rock Harrigan,” the main attraction, is a drama of danger, reckless daring and feuds. George O’Brien, the screen’s best action star, outdoes iiimself in the title role. The story concerns a feud between a rock driller, portrayed by George O’Brien, and the tunnel boss, played by Fred Kohler. The scene of the story is in a construction camp and in the interior of a tunnel in a mountainside. Irene Hervey appears as leading lady. She is the operator of the camp commissary and her charm and beauty provide a welcome contrast to the untamed background where men fight Nature. A cave-in and numerous dangers provide a thrill for the audience. The supporting picture, “Riverside Murder,” concerns the strange murder of' a wealthy man who has entered into a pact to divide his wealth with four friends on the following night at midnight. Two of the friends in turn are murdered and the interest of the audience is held until the inspector in charge of the case thinks out ,a plan to catch the murderer as he comes to remove the other two in the pact. It is a splendid thriller which holds the audience to the final curtain. Basil Sydney, as the inspector of police, and Judy Gunn as a daring newspaper girl, provide the romance for the story. EVERYBODY’S THEATRE. BRIGHT COMEDY-DRAMA. A mystery story replete with suspense, loaded with -laughs, and sprinkled with a delightful romance, marks Metro-Gold-wyn-Mayer’s current comedy-drama, “One New York Night,” which is showing; twice daily at Everybody’s Theatre. Introducing a new team to the public, Franchot Tone,' romantic leading man and light comic, and Una Merkel, pretty comedienne, are co-featured in this film, which provides the audience with many thrills , and hearty laughs. The plot has to do with the disappearance from a hotel of a dead man’s body, a stockbroker who. is very much disliked. A young cowman from Wyoming, a private . secretary, a telephone operator, a Russian countess, and many other guests find themselves directly mixed up in the unsavoury affair. Conrad Nagel and Harvey Stevens are also in the cast. There is an excellent supporting programme of special M.G.M. featurettes, including “Star Night at the Coconut Grove,” an all-coloured musical revue featuring well-known Hollywood stars at their favourite cabaret in music, song and mirth, a Thelma Todd-Patsy Kelly comedy entitled “Sing Sister, Sing,” “Goofy Movies” (Pete Smith novelty) and Metrotone News, including scenes of the Abyssinian front. “WAGON WHEELS” AT PLAZA. HAS EPIC SIGNIFICANCE. Based on Zane Grey’s book “Fighting Caravans,” the film “Wagon Wheels” will be shown at the Plaza to-day and to-morrow. The picture admirably captures the indomitable spirit of the American pioneers< The picture tells of the long trek across the continent made by the first party of settlers to the State of Oregon. In its depiction of stern hardship and tender romance it achieves an epic significance and the production is as praiseworthy as' that word implies. Randolph Scott, last seen in “The Last Round-up,” is the principal player and he is ably supported by Gail Patrick, Monte Blue and Raymond Hatton. Splendid outdoor photography and appealing singing are additional points of attraction in this picture. OPERA IN REHEARSAL. PREPARING “NO, NO, NANETTE# A play is a fascinating picture when the lighting effects operator is in good form, when the scenic artist has excelled himself, when everybody is happy in gay and varied costumes, and even a. producer may be . persuaded to fee;

glad; but take away all the frills and decorations and look upon an opera in the making, and you will discover what you may find in many a woman before, she has gathered her “looking . glass” beauty. It brings one back to thoughts of the conditions under which Shakespeare’s plays were first given to a generation which did not know the arts of stagecraft, when Oscar Asche, master of scenic effects, would have had to be content to act in front of three bare walls on which were written in chalk curt sentences telling the scenes which the audience were asked to imagine! In those days plays and actors had to be of conspicuous merit to survive, and those days provide a parallel with a rehearsal to-day, so that if one can watch a rehearsal and find pleasure and satisfaction in it, one is assured of the success of a production when artists have finished their conception of the raw matter. The New Plymouth Operatic Society held a rehearsal last night. A very generous amount of talent is employed to provide a highly satisfactory structure. The amateurs have another three weeks almost before them before they present the piquantly pleasing' “No, No, Nanette,” for the approval of the-atre-goers, and with that time in hand to attain a satisfying stage of perfection, there is. even now sufficient merit in the performance, as it was carried out in. the cold surroundings of a hall with bare walls and no elements of colour and lights, to point to a thoroughly . successful issue. Mrs. Cicely TaborGregory (Auckland), producer, and Mr. John Dobson (New Plymouth), musical director, are responsible for what has been achieved, and it is good to see the enthusiasm they put into their duties. The New Plymouth Operatic Society is to be congratulated on securing the services of two such very capable people. Mrs. Tabor-Gregory is a lady of wide and extensive experience in producing theatrical performances in Australia and New Zealand, her latest work being the production of “No, No, Nanette” for the Wanganui Musical and Dramatic Society, where the play was'a huge success both musically and drama i. ally. Mrs. TaborGregory and Mr. Dobson expressed themselves as being very pleased with results so far obtained. A feature which impressed was the strength of the chorus, about 90 in number, who made a particularly good showing, very much above the average of amateurs. The combined tone and power of the voices are splendid and in their work the chorus produces a richness which has particularly good effect in the finales. There are several dancing interludes and a special ballet is presented, taught by Miss Peggy Wylds. Last evening’s rehearsal was for chorus only. The work of the principals will be reviewed later, but the foundation has been “well and truly laid” for a charming presentation of a delightful opera in the first week of November.