AMUSEMENTS

Timaru Herald, Volume CXXXVII, Issue 19308, 8 October 1932, Page 2

AMUSEMENTS

GRETA GARBO AT THE MAJESxiC. CONVINCING ROLE IN “AS YOU DESIRE ME.” Seldom has Greta Garbo achieved so convincing a performance as in “As You Desire Me." her new Metro-Goldwyn-Mayer film, which will commence at the Majestic to-day. The reason for this is perhaps two-fold; the obvious appreciation of the glamorous star for her unusual role, and the solid material provided by playwright Luigi Pirandello in his brilliant stage play from which the screen feature was deftly adapted. . Miss Garbo’s part is one that makes heavy demands on her, demands that get their proper response. In the ficst part of the picture, where she is quite a bad young woman, with an improper and expensive habit of calling “More champagne." and a head of hair that was probably platinum blonde, she is a different woman from those we have known her as before. Her vices are, so to speak, rather more careless than earnest, but she puts her job through with the fine ability she will always show in any part she plays. Later, as the wife who has been lost, and is found, she is another person altogether. That was why, to make anything of the picture at all, the star had to be Garbo. The average, merely competent actress would have fallen down on the job, but not she. Opposite her, in the second phase, plays a new man, Melvyn Douglas, whose work gives no cause for complaint. Owen Moore, who should be given more chances more often, is another member of the cast, and Hedda Hopper, in spite of the handicap of her name, slinks about as decoratively as usual. All the players do their work well, and the cameraman must come in for a little of the honour and glory. A fine array of featurettes includes “The Melting Pot,” one of the best scenes from “The King of Jazz."

" BEAUTY AND THE BOSS.” SPLENDID FARE AT REGENT. A sufficiently tangible element of romance and drama is combined with the jollity in "Beauty and the Boss" to make the production equally interesting with the best of the films turned out from Hollywood. "Beauty and the Boss" will commence a season at the Regent to-day. The whole production is first-class comedy, and the acting of the well-chosen cast is above the usual standard. Though Warren William, as the financier, Baron Von Ullrich, is something of a rogue, he is a stickler for system, and draws a nice distinction between the pursuits of gold and “gold-diggers." The fun begins when he sacks his secretary for being too attractive, and re-engages her because of the same shortcoming, as a night-club partner. But complications really set in when Marian Marsh, a dowdy, commercial machine, whom the Baron christens the “churchmouse,” engages herself as his secretary. The story takes a slightly pathetic turn when Miss Marsh, transformed into a vision of sophisticated loveliness, prosecutes her designs on the now completely bewildered Baron. The dowdy secretary, unmoved by his advances, had indeed been a problem, but the transformation w.as equally beyond him. Where she had amused with her prudishness she now overcame him with her charm. The audience, significantly, is similarly affected. But this sudden romantic trend in the story only adds zest to the fun, and the humour never flags while Frederick Kerr and Charles Butterworth have a finger in the pie. A fine list of entertaining featurettes completes the programme. AT THE ROYAL. ADOLPHE MENJOU IN COMEDY, “ BACHELOR’S AFFAIRS." "Bachelor’s Affairs,” regarded by the star, Adolphe Menjou, as one of the best comedies he has ever played in, will be the attraction at the Theatre Royal, opening to-day. If Hollywood is intent on capturing the comedy market, “Bachelor's Affairs” is a good arrow in its quiver. It is thoroughly good fun and though there have been many fine comedies produced this year—both American and British — “Bachelor’s Affairs” is at least as good as any that have come to Timaru. The humour—and not a little pathos—of the film depends on a “golddigger’s” efforts to teach a gay old dog (Adolphe Menjou) new tricks. It is a whimsical story, and there is Just a sufficient leavening of the serious to suit Menjou’s acting abilities. For though this comedy role is perhaps a departure from his usual parts, his success is immediate. Of course, his success, and consequently that of the picture, is assured by a cast including that English comedian Herbert Mundin, and the proven artists Minna Gombell and Allan Dinehart. Menjou’s acting is really admirable, for though it is a comedy he must have the audience’s sympathy; and he gets this without once having to angle for it. All the players give splendid characterisations, and enter whole-hearted-ly into the spirit of the comedy. The featurettes on the programme are pleasing and varied.