AMUSEMENTS.

Timaru Herald, Volume CXXV, Issue 18499, 21 February 1930, Page 5

AMUSEMENTS.

"THE COCOANUTS.” AT THE MAJESTIC. Full houses continue to enjoy the musical comedy, “The Cocoanuts.” at the Majestic Theatre. Starring the four Marx Brothers, who are acclaimed as the funniest and most hilarious comedians in the world to-day, with Mary Eaton and Oscar Shaw two of Broadway’s stars in the featured roles, the production could not be anything else but a great success. Mary Eaton fairly dances and sings her way into every heart, and Oscar Shaw’s tuneful yet powerful voice also delighted the audiences. The theme song, “When My Dreams Come True,” is particularly pleasing and tuneful, as are the other song numbers composed by Irving Berlin. A charming ballet, composed of 100 Ziegfeld Follies girls, is a spectacular part of the picture, and dainty solo and duo dances won rounds of applause from the audience. With Oscar Shaw as the hero, and Mary Eaton as heroine, the love-interest, too, is by no means lacking. The setting of the film is in Florida, where a debutante is wintering in an exclusive hotel w;th her society ambitious aunt. The girl falls in love with a poor hotel clerk, who indulges in “get rich quick” schemes with disastrous results. Many hilarious adventures befall the couple before a happy ending is reached. The production is however a triumph for the Marx Brothers, who with their inimitable acting and grotesque gestures keep the audience in a continual state of laughter. Although Harpo plays the harp, he violates all accepted technique but he is a most accomplished artist. Chico, a pianist, is also an excellent comedian, employing an unusual finger technique. Groucho, considered by many to be the funniest of the four, contributes most of the comedy, althrough he never smiles. Zeppo, the youngest, is a clever comedian. In addition to the main feature a comprehensive selection of enjoyable talking and sound supports are also shown, including vocal and musical items and a sound description of the manner in which talking pictures are made. There will be a matinee this afternoon.

“LUCKY IN LOVE.” IRICH COMEDY DRAMA. There is something in Irish humour that appeals to everybody, be it the witticisms themselves or the touch of “brogue” with which they are uttered. Last night at the Grand Theatre, the initial screening of “Lucky In Love” took place, and, as a comedy-drama, the picture was a pronounced success. The theatre was well filled, and from start to finish “Lucky In Love,” an alltalkie, kept the audience in a continual state of merriment. The greater part of the film was taken in Ireland, where the scenery alone was worth witnessing. From Ireland the action shifts for a period, to New York, where the principals are shown in scenes which, although differently portrayed to the Irish ones, are none the less attractive and amusing. The final location is in Ireland again, and the audience had placed before them, in a striking' manner, the quiet country landscape, the quaint Irish dressings, contrasting with the rush and bustle

of the American metropolis. It was pleasing to listen to the quaint Irish speech, which .appealed more than the Americanisms with which the majority of talkies abound. “Lucky In Love” features, Morton Downey (Tim O’Moore), J. M. Kerrigan (Captain Fitzroy) and Betty Lawford, and is adapted from a story by Gene Markey. The picture opens at an old Irish Castle, the centre of a keen hunting locality, where O’Moore is a stable employee, in love with his employer’s daughter. O'Moore has as his friends a blind harpist and a fiddler, to whose accompaniments he is heard in some beautiful songs. The most popular song was “Love is a Dreamer," whose melody was heard throughout the picture. TO disturb the quiet of the castle comes Captain Fitzroy. who is aware of the fact that a payment on the property, due in a short time, cannot be made. Fitzroy sees the chance of establishing a linen factory in the district, and makes an offer for the property,, which, in view of the money that is wanted, is very attractive. Later, Fitzroy attempts to belittle O’Moore in the presence of Betty. O’Moore strikes Fitzroy, severely injures him, and is forced to go to America to evade the police. There he is befriended by a wealthy Jew, the owner of a large business, with music store attached. O’Moore’s fine singing is a decided help to the Jew’s turnover. O’Moore makes good, and finally persuades his employer to erect linen mills on the site desired by Fitzroy. This arrangement is carried out to the satisfaction of all, Fitzroy is thwarted, and the picture ends on the wedding day of Betty and O’Moore. The supporting films were very interesting, and included a Pathe Sound News, and some scenes taken in the snows of Tongariro National Park.

THEATRE ROYAL TALKIES. “NOAH’S ARK." “Noah’s Ark." the Warner Bros, and Vitaphone production, heralded as having been “made to top any picture ever made,” comes to the Royal Theatre on Saturday. It includes more than ten thousand characters. Sets covering more than a square mile were used in the making—a period of three years. Darryl Francis Zanuck wrote the story and Michael Curiiz, internationally famed as the producer of spectacles of vast proportions, directed. Dolores Costello is starred with George O’Brien. Other prominent members of the cast are Noah Beery, Louise Fazenda, Guinn Williams. Paul McAllister, Nigel de Brulier, Anders Randolf, Armand Kaliz, Myra Loy, William V. Mong. Malcolm Waite, Noble Johnson, Otto Hoffman and Joe Bonomo. “Noah’s Ark” portrays life at the ends of the rainbow-span of fifty centuries. The lovers, whose glamorous personalities survive the soul-stirring days of the World War, are transported back across the centuries, to the iniquitous days preceding j the Flood. Possibilities Of the screen * are vindicated as never before by the | manifold scenes of tumult —war — i slavery—flood—terror—mirth—and by j the human element, and never has interpretative direction been provided J as that which commands the everchanging scenes of “Noah’s Ark.” The choice of Dolores Costello and George O’Brien to play the parts of the lovers was in itself a stroke of genius. Paul McAllister is magnificent as the patriarch, Noah—and all the actors are perfectly cast. The theme of the play is the changelessness of the heart of humanity—whether in the modern

life that we know—or in the traditional past. Tremendous as is the idea of the play, the human story which runs through it is compelling, intimate and tender. Amongst the short subjects to be presented is the famous violinist Mischa Elman, who will play “Humoresque” (Dvorak) and “Gavotte” (Gossec).

e “HIGH TREASON." s • s A WONDERFUL TALKIE. e BRITISH PRODUCTION SURE TO e LURE CROWDS. i When “High Treason” begins its a Timaru season at the • Grand Theatre i on Saturday, the theatre-going public t J will get one of the 'biggest impressions i of their, lives, as far as pictures are 7 concerned. It is the first of the big i English “talkie” releases. It has its i faults, minor ones mostly, but for 7 greatness in picture-making it eclipses j anything that has been here previous- > ly. It is claimed that the mind has to l be cast back a very long time, to when , “Intolerance” was screened, to recall a ) picture on the same scale. The theme . -is as ambitious as it well could be—r no less than the fate of the world. . The artist has pictured the world in 5 ten years’ time as having overcome ; many of its problems by sinking (ap- , parently) national prejudice and form- > ing two great federations of States l which comprise the nations of the old ; world, Europe and England, and the , American countries. Peace of an ap- ; parently lasting sort has been estab- [ lished, owing in no small measure to i the work of the Peace League, organ- ! ised by Dr Seymour, which has l 25,000,000 aherents all over the world. A love interest is provided by Seymour’s datighter, Evelyn, and Major Michael Deene. of the European Air ! Force. Evelyn is just as keen about the Peace League as her father, and Deene represents the miltary cast, so that there are breakers ahead from the start. To trace the story would be to I lessen the tenseness of the theme for j intending audiences, but some outline of the major events is necessary to I convey a proper appreciation of its | magnitude. There are many marvellous features to the production. Perhaps the I most remarkable is the convincing manI ner in which the picture leaps forward I ten years. It would have been so easy J to overdo it. Yet, though they picture j the world as having taken marvellous scientific strides, the developments I shown are the logical successors of the . great achievements of to-day. There I are the aeroplanes that can fly straight up into the air from the ground, and hover easily in the air. by means of the vertical propeller. Few more dramatic scenes have been witnessed than that in the council, when the debate which should decide the fate of the world was in progress; Evelyn's passionate appeal to the reason of her fellow-men when, war rumoured, national prejudice and blind pride well up again; and the terrible struggle between love and duty on the part of Deene. For the actors, no praise is too high. First hon- 1 ours go to Benita Hume, who takes the ’ role of Evelyn. The part is a splendid 1 one, and she acts it splendidly. Her hysterical effort to stem the tide of 1 mobilisation called for really great acting, and she responded magnificently. As Dr Seymour, Humbertson Wright has another very fine part, and he * acts it with equal ability. The broad- < J casting scene and the trial scene stamp * him as one of the very greatest screen personalities. Jameson Thomas plays as Major Deene, and he is ideal for the part, convincing in every word and gesture. “Happy ending’ 'addicts may be disappointed, but not so those who want to see British talkies prove themselves in one of the greatest screen , plays since the talking picture came.