SEASON EXTENDED.

Star (Christchurch), Volume XLIV, Issue 661, 14 January 1933, Page 25 (Supplement)

SEASON EXTENDED.

“Tess of the Storm Country” In Second Week.

Such a flow of superlatives and ultrasuperlatives has been lavished by motion picture magazines on more or less mediocre films that it is difficult to find adequate words to express appreciation of such a splendid offering as “ Tess of the Storm Country, with Janet Gaynor and Charles Farrell, which is now in its second week at the Regent Theatre. The story, the settings, the acting, the humour and the pathos are all admirable. Volatile and appealing, Janet Gaynor has never been seen to better advantage than as Tess. The part demands the portrayal of a laughing, innocent tomboy, who becomes a courageous and lovely woman. The star fills the role to perfection, being always natural and giving an unusual air of reality to the story. Charles Farrell does not have as much to do as in former pictures with Janet Gaynor, but his breezy good humour and handsome face are eminently suited to his part. The story opens on a sailing vessel with the chantyman leading the hands in hauling on a rope to the tune of “ Blow the Man Down. The captain of the ship has his daughter on board with him, but events prove that she Is too old for life with a crew of rough men, and father and daughter build a cottage on the Maine Coast. The cottage is burnt down by order of an evil-tempered millionaire, and a feud begins, which is complicated when the skipper’s daughter, Tess, rescues the millionaire’s son from drowning. A fatal shooting affray follows, and the old skipper is found guilty of murder. The millionaire’s son wins Tess’s reluctant love by cutting adrift from his protesting father and finding the true facts of the murder, which secure the skipper's release. A further tragic misunderstandng is to occur before the lovers are restored to each other’s arms, but the climax is satisfyingly novel and the final scenes are most effective. An exceptionally good programme of “ shorts ” precedes the main picture.

Sir Charles Kingsford Smith at the Regent.

With characteristic enterprise and promptitude the Regent Theatre is screening a very clear and interesting series of pictures of the landing of the Southern Cross at New Plymouth, and the reception to “ Smithy ” and his companions. Added to the current programme of unusual merit, this picture should draw thousands to the Regent. TWO GOOD DRAMAS. “ Downstairs ” and “ WeekEnd Marriage.” “ Igloo ” and “ The Mouthpiece ” will be shown at the Liberty Theatre for the last time to-night. Two good dramas—“ Downstairs ” (John Gilbert and Virginia Bruce) and “ Week-end Marriage ’* (Loretta Young and Norman Foster) comprise the new programme at the Liberty Theatre to-day. Judged by its cast alone, “ Week-end Marriage,” which tells the story of a young married couple who find themselves at odds because the husband earns less than his wife, offers rare entertainment and fine performances. The team of Loretta Young •and Norman Foster, having won such splendid success in the recent production of “ Play Girl,” are man and wife again in “ Week-end Marriage.” Loretta Young has been climbing steadily in the past few months in such pictures as “ Taxi ” and “ The Hatchet Man.” Norman Foster will be remembered for his work in “ Under Eighteen,” “ Young Man of Manhattan ” and “ Alias the Doctor.” Heart thrills are well provided for. George Brent is just as heart damaging as in “ So Big,” “ Miss Pinkerton ” and “ The Rich Are Always With Us.” J. Farrell MacDonald, by an odd coincidence, plays Loretta’s father again, just as in “ Play Girl,” in which Norman Foster was also her husband. John Gilbert turns author and villain at the same time in “ Downstairs,” his latest starring picture. As an author he has furnished one of the strangest and most gripping plots the screen has seen in some time. As an actor he gives the screen a debonair, unscrupulous villain who makes up in audacity what he lacks in morals. Gilbert proves that villains can be not only interesting but glamorous In his vivid portrayal of the astonishing character who enters a castle “ downstairs ” through the servants’ hall as a chauffeur and spreads a web of intrigue that enmeshes cook and countess, butler and baron alike. There is a terrific dramatic climax and light comedy moments when the villain gaily hoodwinks royalty and servants alike. No weakling story is this —but real, solid drama. Gilbert is the Gilbert of old again in this offering. Box plans at The Bristol.