AMUSEMENTS.

Timaru Herald, Volume CXXV, Issue 18629, 26 July 1930, Page 3

AMUSEMENTS.

“ATLANTIC” OPENS AT THE MAJESTIC. It is difficult to describe “Atlantic” in ordinary cinema terms or to compare it with ordinary cinema shows. This British International picture, which comes to the Majestic Theatre i his afternoon and evening, besides ! being a talking production of the most j modern type is a bold experiment. As ; a thinly-veiled reconstruction of the j Titanic disaster, “Atlantic” will take a • lasting place in screen history as a monumental tribute to the Mercantile Marine. The thrilling appeal, “3e British!”! which precedes the final | act of grim tragedy expresses the j spirit of the film. The realism of the j production is such that one is trails- j ported to the decks of the great liner, I there to mingle with the passengers I and to share their incredulous horror I and their mental reactions when fac- j ing the fate that is to be theirs. The I film opens quietly, almost unimpres- j sively, but the absence of swift action i is international. We meet the saloon passengers engaged in the usual pas- j times of life on a great liner. Some : are dancing, some playing cards. We ( move to the bridge, where men are j scanning a dark, calm sea anxiously. | The ship is in the iceberg zone. Her j captain is more worried than he cares j to admit. Back to the saloon. There ! we see glimpses of petty intrigue, per- I sonal feeling, loves, sorrows—trivial I little social happenings. But already ! an atmosphere of forebody ing may be sensed. The actual striking cf the berg is unexciting, as the beginnings j of such tragedies often are. A slight i shock. “'What was that?” asks someone I in the saloon. The padre laughs. “I j believe we scraped a jolly old berg,” j he says. On the bridge there is no | illusion of security. Grave reports are | telephoned from the engine-room and ; stokehold. Lights flash as. one by > one. the watertight doors close. The j wireless calls frantically for help, orders are given and passed on with | the precision that British training . makes possible; buzzers call the i crew and staff to their posts. The j emergency machinery of the liner is j in motion. So the tragedy is enacted. | We are with a few saloon passengers j when they are told the news and the truth of their positions. We study their outward emotions. As the play j proceeds these personal glimpses are i accompanied by the sounds of a great ship in mortal peril—the nerve wrack- ; ing toiling of warning bells, the hiss ! and explosion of rockets, and the dull i roar cf escaping steam. Box plans | arc at tha Bristol, but will be brans- j .‘erred to the Majestic Theatre after noon. The usual matinee will take ; place to-day commencing at 2.15. j A PETE.It 15. SYNE STORY. AT THE THEATRE ROYAL. j “The Three Godfathers," Universal’s | remarkable all-talking drama of | human nature which came to the j Theatre Royal to-day is a picture of a i high and distinguished order. It runs | the gamut of human emotions and ; actions. It has romance, adventure, j pathos and humour. It achieves sus- j pense of a nature that has never been j surpassed in motion pictures. Its • action is shown against a canvas at once weird and awe-inspiring—the ; majestic, illimitable desolation of the great Mojave Desert. Against this tremendous background is played out a human drama whose compelling interest is never allowed to flag. “The Three Godfathers” is a drama of regeneration and heroism. Three bad men of the west have fled into the desert after killing a citizen in a bank holdup in the little frontier town of New Jerusalem. They find themselves with a new-born baby on their hands. They have promised the dying mother they will bear the child safely to New Jerusalem. They have not enough water for such a journey. And they know that if, by a miracle, they do reach New' Jerusalem, lynch law awaits them there. From this central dramatic situation the story unfolds swiftly and poignantly. It increases in intensity until the final fade-out leaves the beholder emotionally breathless. “The Three Godfathers” is marked by superb acting. Charles Bickford. Raymond Hatton and Fred Kohler give characterisations that are notable contributions to the art of the screen. Splendid performances also are given by Fritzi Ridgeway. Maria Alba, Joe de la Cruz, Buck Connors and Walter James. “The Three Godfathers” is a great story that required delicate and sympathetic handling. No false note is struck in either action or characterisation. The picture rings true at every point. The picture is based on the famous story “Three Godfathers,’ ’by Peter B. Kyne. Supporting films will include “Oswald the Rabbit” this being another of the clever cartoons, Dent and Archer the popular comedians will appear in a smart featurette “Up r ->d Downstairs,” the Universal News Reporter is also on the programme. The regular Saturday matinee will take place at 2.15. CONCERT AND OLYMPIAD. The box plan for the musicale and olympiad in aid of the Y.M.C.A. will open at the Bristol on Wednesday next at 9 a.m. A large number of tickets have been disposed of, and purchasers to secure seats in chosen locations must reserve early. No extra charge is made for reserving. Music lovers will be pleased to learn that among the artists will be Madam Winnie Fraser (Oamaru), Mrs Percy Elworthy (Gordon’s Valley)’ Mrs F. H. Ruddenklau (Rangitata Island). Mr Howard Foster (Waimate). Mr Wilfred Kershaw (Dunedin). Mr R. A. Malcolm and Mr W. H. Osborne (Timaru). The orchestra will be under Mr Iriglis W. Todd, and the accompaniments will be played by Mesdames G. A. Martin, A. S. Elworthy and G. Donaldson. The olympiad section will be a brilliant performance. Tickets are obtainable from the Bristol or members of the Y.M.C.A.