AMUSEMENTS

Timaru Herald, Volume CXLV, Issue 21185, 4 November 1938, Page 4

AMUSEMENTS

“THE BROKEN MELODY” MUSICAL PICTURE AT THE REGENT Lloyd Hughes, Diana Du Cane, Frank ! Harvey and Alec Kellaway have the I leading roles in the Australian produc- I tion of “The Broken Melody,” based on the well-known novel by F. J. Thwaites, which is proving a strong attraction at [ the Regent Theatre. Apart from other I incidental music, there is a delightful | operetta sequence for which Mr Alfred i Hill, the New Zealand composer of the ■ world famous Maori melodies, wrote an I overture, and a duet for tenor and i soprano and finale. The A.B.C. Symphony Orchestra, led by Mr Lionel Lawson. and conducted by Mr Hamilton Webber, supplies the Instrumental accompaniment, and there are 40 voices conducted by Mr R. McLelland in the chorus. Mr Lionello Cecil, the famous Australian singer, sings the tenor role in the picture, while the leading lady, Miss Diana du Cane, appears as the [ soprano. In Mr Hill’s music there Is a ; melodious theme song first introduced j by Mr Lloyd Hughes as a violin solo, and recurring in various forms throughi out the picture. Mr Ken G. Hall proi duced and directed “The Broken | Melody,” Australia's first modern musi- | cal romance, which has been welcomed with enthusiasm by press and public alike. “Boy of the Streets” From out of the depth of the tenements of a great city rises a stirring, triumphant story of a youth and i honour and of a boy’s fight to find ! himself. It is Monogram's splendid “Boy of the Streets,” which comes to the Regent Theatre to-morrow, and its star is Jackie Cooper, whose moving characterisation of Chuck, the tenement “big shot,” definitely establishes him as an adult star. "Boy of the Streets” is a story of the children who grow up in the sombre shadows of the tenements. The camera focusses on Chuck, leader of a gang of young hoodlums, catching him at the sensitive adolescent age when he is first forced to decide what is right and what is wrong. Chuck's only ambition is to be a “big shot” like his father, and when he suffers youth’s greatest disillusionment—the discovery that his I parent is a four-flusher and a fake— j he attaches himself to Blackie, a public i enemy, sinister symbol of power Chuck I means one day to possess. But a i greater disillusionment, the discovery that gangster methods are cowardly, j teaches Chuck the meaning of words like honour, courage and success, and points the way to discipline and decent citizenship. Four star performances characterises this picture. Jackie Cooper, as Chuck, proves his artistry in an unforgettable, finely-shaded portrait of the sensitive lad who conquers his evil environment. Kathleen Burke and Gorden Elliott supply the, love interest, and Maureen O'Connor, radio’s baby star of 1937, makes her debut in this picture, co-starring with Cooper as the little Irish lass who stands be- J side him in his fight to conquer his [ environment. She sings beautifully and , is a grand little actress. DRAMA AT MAJESTIC “,’RSENE LUPIN RETURNS” A mystery within a mystery in which a crook chases a killer to prove his innocence provides a basis for one of the season’s most thrilling adventure dramas in “Arsene Lupin Returns," which will be screened finally at the Majestic to-day. Melvyn Douglas scores with a vigorous performance as Arsene Lupin. International adventurer. Virginia Bruce, whose dazzling beauty has decorated such pictures as “The Great Ziegfeld,” and recently “Bad Man of Brimstone,” has an opportunity for a contrasting performance of comedy and drama in the fast-mov-ing story. Warren William's part as super-sleuth in pursuit of Arsene Lupin provides him an opportunity for an exceptional performance. “The Rage of Paris” For some years past the ranks of the I Hollywood film stars have from time | to time been augmented by importa- | tions from England and the Continent, j the studio directors being always on t the alert for some new and intriguing i personality that will give variety and piquance to a form of entertainment ' that has already imposed a severe drain on the stage talent of America. The latest addition to the ranks of the featured players is Danielle Darrieux, I a beautiful and vivacious young French I actress, whose performance in “The j Rage of Paris,” which opens at the Majestic on Saturday, fully justifies the confidence reposed in her to infuse something fresh and unusual into a sphere of acting that threatens to develop a stereotyped style among its followers. Miss Darrieux is not only very lovely, she is a past mistress of the art of subtle gesture, effective facial expression, and sensitive comedy work, and thereby gives a zest and appeal to a role that was obviously created for her. Her French accent is delightful, particularly when it is combined with some expressions whose origins are purely American, and she is the embodiment of grace and charm, no matter what the tempo of the scene.

MUSICAL COMEDY FINE FILM AT THE STATE The greatest round-up of big name stars of any musical yet, a whole “who's who" of the screen’s “pepper-uppers,” frolics to town with three sirens of swing in search of social security who find themselves sidetracked by love in "Sally. Irene and Mary.” The new 20th Century-Fox ryhthm romance with the lift-and-lilt that have made Darryl F. Zanuck shows first-class entertainment, will head the programme at the State Theatre commencing to-day. Alice Faye and Tony Martin sing the tunefullest songs you’ve ever heard, as only they know how! They top the cast with Fred Allen, star of radio’s “Town Hall To-night” and he is twice as funny face-to-face. The cast is uproariously star-glorious with Jimmy Durante, the street-sweeper who crashes into cafe society; Gregory Ratoff. with a champagne bankroll and a gleam in his eye; Joan Davis, the gazelle with knee-action; Marjorie

Weaver, the sensation of "Second Honeymoon” now making a second sensation; Louise Hovick. who keeps [ Reno busy, and Barnett Parker and J. Edward Bromberg. The romance is made rhythm radiant by eight topnotch tunes by four top-notch tunesmiths. The nation's dance bands will get new life from these rhythmradiant hits: “Half Moon on the Hudson." “I Could Use a Dream." “This Is Where I Came In." “Help Wanted— Male” and “Who Stole the Jam?” by Walter Bullock and Harold Spina; and “Got My Mind on Music" and "Sweet as a Song” by Mack Gordon and Harry Revel.

THEATRE ROYAL VICTOR McLAGLEN AND MAE WEST Victor McLagen is seen in one of his most tempestuous roles to date, in Universal’s powerful drama “The Devil's Party,” coming to the Theatre Royal to-night. This picture delineates the life history of five youngsters after they emerge from one of the toughest districts in New York. It emphasises the fierce friendships and loyalties that are carried over from the Hell’s Kitchen days, even though fate has placed these five in positions unalterably opposed to one another. McLaglen is cast as the reform school graduate, who becomes owner of a big night club and gambling resort. Hardened by the fierce struggle for existence he nevertheless presents a suave and polished aspect to tile world, although the innate savagery beneath is always ready to flare forth. His one enduring virtue, however, is his loyalty to the companions of his boyhood. In Paramount's "Every Day's a Holiday.” Mae West is seen elbowing her way into the stiffnecked society of the New’ York of 1900. Playing the part of a down-at-the-heels entertainer. Mae is looking about for a backer for a new show in which she is to star when she finds Charles Winninger, a woman-hating millionaire, on a New Year's Eve blowout. After introducing her to his friends as his little niece, fresh from f .lishing school, he consents to put up the money for her show, and from this point interest develops rapidly. The cast Includes Charles Butterworth, Walter Catlett, Chester Conklin and Louis Armstrong and his orchestra.