AMUSEMENTS

Timaru Herald, Volume CXLVIII, Issue 21817, 21 November 1940, Page 6

AMUSEMENTS

STATE THEATRI A FINE COMEDY “Prairie Law” and “Pop Always Pays,” will give way to-morrow to “Charley’s (Big-Hearted) Aunt.” Audiences are helpless with mirth at the antics of Arthur Askey in his latest starring opus. The film version is a modern one, adapted from the recordbreaking stage farce. Never has a film comedy of a stage play been presented wuth such brilliance—Askey’s rip-roar-ing impersonations of a visiting Aunt by a scallywag Oxford undergraduate to prevent expulsion, has audiences absolutely rolling with laughter, while the flirtation in a punt by the said Aunt with the unsuspecting Proctor, a midstream upset, the rescue of Askey by a bevy of girls and risque complications when they try to tend and redress him. provides a climax to this riotous and hilarious comedy. Richard Murdoch is Stinker; Graham Moffatt is Albert, and Moore Marriott is Jerry, and all three give the star tireless support. J. H. Roberts and Felix Aylmer are Dean and Proctor, respectively, and each acts with a seriousness that gives excellent contrast to the fooling. Wally Patch. Phyllis Calvert, Jeanne de Casalis and Elliot Mason are others who thoroughly enter into the spirit of the play. There is very little connection between this farce and the original “Charley’s Aunt.” but the new version more than competes with the old.

REGENT THEATRE

“ MEIN KAMPF—MY CRIMES ” “Mein Kampf—My Crimes” is unusual and grim; unusual because there is practically no cast—no one would want to imitate Hitler and take the credit for it, anyway—and grim because Hitler’s whims and petty ambitions have given the world its greatest tragi-comedy. This production which in gives the career of Enemy No. 1 from the days when he was just “Little Adolf” of obscure parentage that was doubtfully Aryan, through his brilliant art career (which reached its peak in the forging of names of Old Masters), on through his impressive Great War service (he won half a stripe a year for lour years), and then to the devel-* opment of that latent genius that endeared him to Czechoslovakia. Poland, and half a dozen other countries. The roots of the film are in the closing days of the Great War. and the audience sees those roots spread gradually into the twisted rotten tree of Nazism, with those creeping limbs waiting to lean over the neighbours’ fences. Most of the film is fact, and that which is not i 1 based on fact, for which there can be no better corroborative evidence than the many scenes actually taken at decisive points in the Nazi story—the burning of the Reichstag, the disguising of German mobilisation as a “Labour Corps,” the comical Fuhrei himself straining his larynx at some ol the many “heir’ parades of fanatica followers, the signing of the Munich Pact, and many other gems of modern history.

MAJESTIC THEATRE

“DAD RUDD, M.P.” The new Dad and Dave picture. “Dad Rudd, M.P., continues to draw the crowds to the Majestic Theatre. The film is a decided advance on former pictures in the Rudd series. The photography and sound are splendid and the ambitious scenes are particularly well done. From the time Dad brings back to the farm an old disused fire engine instead of a new car there is not much let up in the fun. but the film has its more serious moments, particularly the finale when Dad’s speech in Parliament—a fervid, patriotic oration, delivered in Bert Bailey’s best manner and showing him in his true colours as a very fine artist —touches a note tha has a very deep appeal for all Empire subjects. “ French Without Tears ” “French Without Tears.’ which comes on Saturday to the Majestic Theatre, is a delightful screen version of the famous play, and, with its spicy dialogue and sophisticated comedy, it should become one of the most successful humorous pictures for some time Ray Milland and Ellen Drew give their best portrayals to date in leading roles, while a comparative newcomer to the screen Ronald Culver, has a complete understanding on the part of a typical, dignified but rather shy, naval officer. The story concerns the depredations wrought by an extremely attractive American blonde (Ellen Drew), who visits the house of a French professor engaged in applying Continental polish to students studying for entrance into the diplomatic service. David Tree and Guy Middleton, as two of the first students to succumb to her charms, ably fulfil their roles, while Janine Darcey, as the pretty French tutor, who is forced into the background by the attractive visitor, engages and holds the sympathy of the audience. Box plans for the short season of three days are at Begg’s.

THEATRE ROYAL

“MR MOTO'S GAMBLE” If Mr Moto won. he would trap a phantom killer. If he lost, he himself would be killed! Peter Lorre, starred as the famous Saturday Evening Post sleuth in the newest drama of the 20th Century-Fox series, “Mr Moto’s Gamble,” untangles the mystery that rocked America’s sports world in the film showing at the Theatre Royal. Supporting players include Keye Luke, Dick Baldwin, Lynn Bari. Douglas Fowley. Jayne Regan, Harold Huber and Maxie Rosenbloom. “Variety Hour” presents 10 brilliant variety acts—each one a star on the English stage and offering entertainment that should be relished by picturegoers. The stars includ Clapham and Dwyer. Brian Lawrence and his Band. Carson Robison and his Pioneers, Music Hall Boys. Norwich rio, Jack Donoghue and others.