AMUSEMENTS

Timaru Herald, Volume CXLIII, Issue 20783, 19 July 1937, Page 4

AMUSEMENTS

"THAT GIRL FROM PARIS” LILY PONS AT STATE One of the world’s best known melodies, Johann Strauss’ ‘‘Blue Danube Waltz.” to which millions have waltzed since It was written. Is sung by Lily Pons in the Parisian star’s sparkling musical comedy, “That Girl From Paris,” at the State, in which she Is co-starred with Jack Oakie and Gene ?taymond. Miss Pons sings it in a New York roadhouse to the accompaniment of a four-piece orchestra. The instrumentalists offer interesting "swing” variations in an effort to disconcert the vocalist, and the familiar tune is heard bedecked in brilliant new crescendoes. Other numbers are “Una Voce Poco Fa,” from “The Baiber of Seville,” Panofka's “Tarantella” and three modern melodies by Arthur Schwartz and Edward Heyman—“Seal It With a Kiss,” “Call to Arms” and “My Nephew from Nice.” Dealing with the hilarious adventures of a French singer who follows a group of American musicians to America and then finds Is implicated in legal matters as well as affairs of the heart, “That Girl from Paris/’ is much funnier and much more musical than the little diva’s earlier vehicle, “I Dream Too Much. Herman Bing, Mischa Auer, Lucille Ball, Frank Jenks, Vinton Haworth, Williard Robertson and others appear in important roles “SAN FRANCISCO” AT MAJESTIC JEANETTE MACDONALD AGAIN Metro-Goldwyn-Mayer has produced an outstanding picture in “San Francisco” at present at the Majestic The picture is most dramatic and the most enthralling part of it is that which deals wlh the earthquake and fire which swept San Francisco in 190 G. Scenes in which men, women and children are buried beneath crumbling buildings and In which fire is seen at its terrible work are such as will be remembered when others are long forgotten. Scenes of the gay and pleasure-seeking life led by the people of the city before the disastei are contrasted sharply with the devastation which comes with the earthquake and the fire. The theme follows the rivalry between the dance-hall owner, played by Clark Gable, and the son of a wealthy San Francisco family (Jack Holt). The leading lady. Jeanette MacDonald, repeats the success her acting and singing won her in “Naughty Marietta.” Her voice Is heard in both operatic and popular selections and is perfectly reproduced. Gable proves himself a clever and versatile actor through his portrayal of Blackie Norton, the reckless dancehall proprietor who changes his views and his mode of life when the earthquake descends on the city. Spencei Tracy’s study of the priest who acts aS guide and counsellor to the errant Norton is a fine one. Jack Holt plays a straight part well and Jessie Ralph excels in her part as his mother.

“FIRE OVER ENGLAND” HISTORICAL FILM AT REGENT Erich Pommer’s production of “Fire Over England,” at the Regent Theatre, is in several ways a real distinction. Adapted by Clarence Dane from the best-selling novel by A. E. W. Mason, the film has dignity, fine photography, handsome settings and excellent acting. The age of Elizabeth and the coming of the Spanish Armada to England will always provide spectacle and excitement and in their presentation London Films, the producers, have a wealth of vibrant material. One meets Elizabeth (Flora Robson) sighing for her lost youth, but still a dominant, inspiring personality; Essex, Burleigh, and Philip of Spain. The film begins with the Queen temporising with the Spaniards, allowing her sailors to harass their shipping, yet refusing to punish them. Then the scene changes and the fate of an unsuccessful English foray is shown. Through the kindness of a Spanish admiral, the hero (Laurence Olivier) escapes, but his father is put to death by the Inquisition. Fill”! with hatred toward Spain, the young man is sent to Madrid in order to ascertain details of the Armada and the names of certalp English traitors. He almost succeeds, but, in an unforgettable scene, is trapped by the wary Philip and obliged to fight his way from the palace. There follows the arrival of the Armada in the English Channel, the sending of the fire-ships, and public thanksgiving for victory. “Little Lord Fauntleroy” An old friend in a new guise will be warmly welcomed at the Regent Theatre on Wednesday, when Little Freddie Bartholomew acquaints us with a completely modernised “Little Lord Fauntleroy,” bereft of the traditional long curls and plush suit, but none the less lovable for that. Frances Hodgson Burnett’s story has captured the heart of everyone who has ever read it. Dolores Costello Barrymore is costarred with Freddie in the role of the Little Lord’s adored young mother, “Dearest.” The picture tells, in heartwarming terms the familiar story of the little American lad, who became a Lord and went to England to live in a castle with his grandfather the gruff gout-ridden, old Earl of Dorlncourt (C. Aubrey Smith). How the child wins his way into the old man’s heart and transforms him into a loving and delightful grandfather Is charmingly depicted. GLADYS MONORIEFF “ THE MERRY WIDOW ” AND “MAID OF THE MOUNTAINS ”, The box plans will be opened at Begg’s to-morrow morning at 9 o’clock for the productions of "The Merry Widow” and "The Maid of the Mountains,” in which Miss Gladys Moncrleff and J. C. Williamson Ltd’s Comic Opera Company will make their appearance here on Thursday night “The Merry Widow,” and on Friday

evening “The Maid of the Mountains.” Anticipating a large demand for seats the management will have a staff of ushers in attendance from an early hour to form a queue so that the earliest arrivals may have first choice of seats. “The Merry Widow” is certainly one of the most popular comic operas the English or Continental stage has produced, and It will always attract large audiences no matter how frequently it is staged. These remarks also apply to “The Maid of the Mountains.” This was proved in Australia, where both operas were received with much enthusiasm and their seasons in each of the big cities had to be considerably extended. The revivals were both acclaimed the best ever seen in Sydney and Melbourne. The company is strong in comedians, and it would be a difficult matter to find two better or more humorous artists than Cecil Kellaway or Don Nicol, and they are ably assisted by Gerald Connoly, Peter Dawson and Miss Isobel Cue. The singing members of the company Include Eric Bush (baritone), Mr Arthur Clarke (tenor), and Miss Carmen Mascagny, and other principals are Leslie Crane, Cecil Pawley, Leslie Donaghey and Geoff. Colledge. The full operatic chorus and orchestra are under the direction of Mr Fred Quintrell.