CINEMA PROGRAMMES

Taranaki Daily News, 16 November 1935, Page 5

CINEMA PROGRAMMES

OPERA HOUSE TO-DAY. ALICE BRADY AS “LADY TUBBS.” . Probably no actress before the public has attained such outstanding success in the three mediums of silent pictures, the stage and talking pictures as has Alice Brady, who seems equally at home in tragedy, dr comedy. Many, sly jabs at the snobbish rich are tauen in “Lady Tubbs,” the rollicking Universal comedy now playing at the New Plymouth Opera House with Alice Brady starred and Douglass Montgomery and Anita Louise in the featured roles. The wealthy AshOrcutts, of Long Island, violently object to the marriage of their manly son to the niece of a former cook at a railway construction camp, ■ solely on account of the fact that the girl comes from the wrong side of the tracks and can boast of no “family connection.” But when the aunt inherits a fortune and returns from England masquerading under the fictitious title of “Lady Tubbs, ’ the obsequious Ash-Orcutts receive the supposed noblewoman and her niece with arms and entertain them lavishly. Miss Brady, as the cook now turned lady, is still not satisfied, however, and with the aid of a contemptuous neighbour succeeds in dragging from the closets of the luxurious Long Island mansion a pair of skeletons which the socialites, had previously kept from each other. The climax of the story brings a succession of laughable situations, and revelations which prove very, very embarrassing to her host and hostess. The large cast includes Alan Mowbray, Hedda Hopper and Lumsden Hare. The supporting programme, which is of a particularly high standard, includes Universal news, “Going Places” (travelogue), “Gipsy Sweetheart” (all colour revue), “Stranger Than Fiction” (interest) and “Telephone Blues” (mentone musical). EVERYBODY’S TO-DAY. “CARDINAL RICHELIEU.” People who look for the best in entertainment always know that their search has momentarily ended when they read that Mr. George Arliss is to appear. The countless admirers of this great actor at New Plymouth can now look forward to seeing him in his new 20th Century production, “Cardinal Richelieu,” which will start at Everybody’s Theatre to-day at 2 and 7.45 p.m. In this new film Mr. Arliss is quite as good as, if not better than, he was in “Disraeli.” That is high praise. indeed, yet it is not an extravagant claim to make, as all will concede after they have seen “Cardinal Richelieu.” The star’s acting is more skilful than ever. He makes the perfect approach to his material, and he gives full meaning to every one of his brilliant lines of dialogue. Maureen O’Sullivan and Cesar Romero have the romantic roles, and Douglas Dumbrille is as fine

a villain as ever stepped out of a period romance. Set in an age of colour and adventure, the story moves fast, and is filled with exciting incident; and dominating everything is the finest perform.ance of the screen’s finest actor. Darryl Zanuck assembled a notable group of screen writers to collaborate on the task of bringing this spectacular life story, based on the famous stage drama by 'Sir Edward Bulwyer-Lytton, to the screen. George Arliss himself was unsparing in his effort to make his portrait of Cardinal Richelieu accurate and convincing. He spent hours in the libraries and art galleries of London and Paris gathering data and studying paintings of the famous character A fine array of supporting films includes “The Golden Touch,” Walt Disney’s latest Silly Symphony in technicolour. It is necessary to reserve for this great programme. THE REGENT THEATRE. “THE CRIME DOCTOR.” Scorning the beaten paths of crime stories, can a photoplay unfold murder in a novel and daring manner, in .that it takes the audience completely into its confidence from the start and, unlike the usual mystery story, reveals every point to the spectator, from the inception of the crime in the killer’s mind to its consummation and thrilling aftermath? This is accomplished with emotional intensity and suspense, it is claimed, in the RKORadio screen drama, “The Crime Doctor,” which commences with the “Right to Romance” at The Regent Theatre, New Plymouth, to-day at 2 and 7.45 p.m. Dan Gifford, a master mind among crimin- _ ologists,’has‘reached the heights in his profession through his intensive studies of the psychology of. the criminal, especially in regard to motives. When a most unusual series of circumstances serves to involve his own beautiful wife as the motive for one of the most unaccountable murders in the annals of crime, he finds himself caught between the devil and the deep sea and is brought face to face with the crisis of his life. Otto Kruger, Karen Morlel, Nils Asther and Judith Wood head a clever cast. In “The Right to Romance” Miss Harding is provided with an intriguing role as a famous plastic surgeon who forsakes’ her career with alacrity when romance and marriage beckon. Later she finds bitter disillusionment and begins to doubt the wisdom of thrusting aside fame for love when she discovers her impetuous young husband in a compromising situation • with a former “flame.” The drama reaches a startling and highly emotional climax' when the lady surgeon is called upon to perform a delicate operation on the beautiful features of her rival. All of Miss Harding’s superb histrionic powers are called into play in this powerfully dramatic scene. Robert Young has the principal masculine role. STATE THEATRE. “DRESSED TO THRILL.” Hollywood’s unflagging search for new faces and new personalities has at last resulted in a real find. It has brought the tantalising charm, the lovely singing voice and great dramatic talent of Tutta Rolf, Fox Film’s European sensation, to the screen in “Dressed to Thrill,” which will commence showing to-day at the State Theatre, New Plymouth. ‘Dressed to Thrill” is Miss Rolf’s vehicle. It gives her ample scope for her acting talent in the difficult dual role of the tantalising coquette and< the demure French dressmaker; it has “hit” tunes by Lew Pollack and Paul Webster to show off her rich, warm con-

tralto, and it launches Mis Rolf on the road to assured stardom. Supported by suave Clive Brook, Robert Barrat and Nydia Westman, Miss Rolf acts in “Dressed to Thrill,” the role of a woman who seeks to punish the man who had forgotten her, but who fails because love is sweeter than revenge. The action, which opens in a village in northern France, soon changes to a setting at Paris. Miss Rolf, once the sweet village dressmaker who had been left behind by Clive Brook, is now a fascinating actress. Determined to give Brook, who no longer recognises her, a taste of his own medicine, she lures him away on the eve of his wedding to another woman, breaks up his business, and leads him a tortured life. Acting, in turn, the coqdette and the simple sweetheart of old, she finally leads Brook to acknowledge that the simple sweetheart is the better. And then, in an amusing, surprise-filled climax, she reveals her double identity to the amazed Brook. “CHU CHIN CHOW” AT PLAZA. ' MUSICAL EXTRAVAGANZA. “Chu Chin Chow,” the colourful musical melodrama which will come to the Plaza, Stratford, at 1.30 and 8 p.m. today, maintains the high standard for spectacle and magnificence which characterises all big Gaumont-British productions, The story is based on the famous story of Ali Baba and the 40 thieves from the Arabian Nights. The cast is significantly strong. For almost a generation George Robey has been a “popularity” on the music hall stage, and here makes a picturesque, villainous and resourceful Ali Baba. Fritz Kortner, one of the most famous of all Continental actors, excelling in Shakespearean roles, is the rascally Abu Hasan, “Chu Chin Chow from China.” Anna May Wong, the talented American-Chinese actress, is Zahrat the slave girl. Also appearing in important roles are Pearl Argyle, “Jetsam,” Denis Hoey, Sydney Fairbrother, Laurence Hanray, Frank Cochrane, Thelma Tuson and Kyoshi Takase. “Chu Chin Chow” is entertainment on a generous scale. Spectacular magnificence is allied with a sparkling story of amazing happenings in the style of Arabian NiVits The whole production is an adventure into the realm of fantasy, with very matter-of-fact people doing their utmost to bamboozle each other. Edward Knoblock, Sidney Giliat and L. Du Garde Peach were responsible for the dialogue and Frederic Norton' music was played under the direction of Louis Levy.