ENTERTAINMENTS

Wanganui Chronicle, Volume 74, Issue 58, 10 March 1931, Page 11

ENTERTAINMENTS

“THE BIG POND.’’ LIGHT-HEARTED MAURICE CHEVALIER. “You’ve brought a new kind of love to me.” A better pair of stars to unfold the glorious story of the “Big Pond” than Maurice- Chevalier and Claudette Colbert could not be found. They both portray the utter gloriousness of youth and vivacity. It is a pleasing picture which opens in a romantic Venetian setting a*, is transported over the “Big Pond” to the humming world of American industry. That the wheels of what-nots you see grinding away in a huge factory move to provide a population with chewing gum adds to tho flavour of the piece. Chevalier is at his best. First he is the light-hearted guide on the canals of Venice. Next he is a puppet in a nicely lai sc hemo by Claudette’s father which is to involve him in the throes of American business. “In America it is all bluff,” Claudette has put him wise on ship, and characteristically, he listens with a smile and then a burst of youthful determination —“Very well then, 1 will bluff, and when I bluff, I bluff!” A pretty love story j*uns through the picture, forming its basis. As Margaret Billings, daughter of Yankee Land’s chewing gum kitg, Claudette Colbert longs for romance. Relief from the everlasting world of business is her sole ambition. That she should find comfort in the companionship of a vivacious French guide on the waterways of old Venice was but a natural happening. Pa Billings did not like it, however, and resolved that this smiling good-for-nothing French suitor should be made to shatter himself on the merciless wheels of industry. George Barbier gives a realistic rendering of a blustering father whose mind is wrapped up in chewing gum. He sets Chavalier to work with specific instructions that he be given it hard. When the boy does not quit and gradually makes good there comes a change in the father’s regard for him. At the same time, however, success in business removes the halo of Venice from the hero. Romance, for a time, seems to fall backward in the face of commerce. Miss Colbert plays the part remarkably well, especially when the song on which their love was built — “You’ve brought a new kind of love to me,” —is turned to account as an advertising medium for gum. A serious position for the light-hearted Frenchman is turned again to joyousness by the resurrection of old-time methods. There is a kidnapping. It is a great picture this “Big Pond.” Mickey the Mouse also appears on the programme, challenging Chevalier to his place in the scroll of fame. The Paramount News Reel is also very interesting, revealing a goodly portion of one cricket test between England and Australia, with England at the wickets. Jack Hobbs is seen caught and the fluctuating feelings of the vast crowd are interesting all the time. The Armistice celebrations at the Tomb of the Unknow Warrior in London are very impressive, especially the mighty concourse singing “Lest Wc Forget,” accompanied by the massed bands of H.M. Guards.

BUSTER KEATON. “FORWARD MARCH.” “Forward March,” comedy of military life, with Buster Keaton playing a millionaire’s son who enlists in the army, is the attraction which will open at the Majestic Theatre to-morrow. Keaton’s role calls ?or unusual versatility, the comedian appearing as singer, Apache dancer, and ukulele player as well as a raw recruit who becomes initiated in the trials and tribulations of life as a soldier. Edward Sedgwi'ck, who directed Keaton in “Spite Marriage,” and “Free and Easy,” supervised the new comedy and also played the role of the camp cook, staging with Keaton and Cliff Edwards a comical song parody number.. The cast includes Sally Eilers, of “Dry Martini,” “Cradle Snatchers,” and

more recently “Let Us Be Gay,” Cliff Edwards, last seen in “Way Out West,” and “Good News”; Edward Brophy, who combines the duties of acting with those of production man\ ager; Victor Hotel, Arnold Ko iff, Frank Mayo, Pitzy Katz and William Steele. Amusing “gags” include Keaton’s crossing of ‘-No Man’s Land,” riotous adventures in tho German trencher, his Apache dance in tho dugout entertainment, and incidents which take place in tho training camp and on the transport. The love story of the rookie and heroine provide additional merriment and Miss Eilers is given an opportunity to prove her prowess as a dancer in the camp theatre scenes.

ENGLISH COMEDY. “FRENCH LEAVE” AT REGENT. “French Leave,” one of the best English talkie comedies is now showing at the Regent Theatre. Much hinges on Madeline Carroll, who starts the ball rolling by stealing a march on her husband in his billet in France by persuading his French landlady to let her pose as her daughter. Visions of court martial notwithstanding, the husband cannot resist the Jure of a resumed honeymoon by stealth, but, alas, a subsidiary general and his dashing young ofiicer are suddenly billeted upon them, and “Juliette,” as the vivacious daughter of Madame, finds herself hard put to it to resist their combined advarces. Posing as a French girl with a little English, she soon arouses so much frank and outspoken admiration (“the peach!”) that her husband is the glummest soldier in France, and the fun at night, when their plans for a happy reunion are spoilt by the general and his officer getting in each other’s way on surreptitious excursions to take the fort by storm, makes for the most farcical situations.

The undeniable humour is nevertheless quite inoffensive, while the dialogue, aided by the general’s and husband’s batmen, keeps everyone gurgling. It is a delightfully ludicrous affair, with just sufficient trutu in the characterisations to give it real life. “ Rooty-Tooty, ” the amorous, livery general, whose nerves are sadly frayed by a batman with a face that raises smiles when in response, but simply breaks up the house when various expressions flit across it, sadly wrecks his lovelorn young officer’s peace of mind and between them they drive the husband frantic. “Juliette.” on the contrary, throughly enjoys everyone’s misery until she is accused of being a spy, and then the plot thickens. Madeline Carroll acts well in her dual role, while the fun is sustained by Sydney Howard, Arthur Chesney, Haddon Mason and others. Inhere is an excellent supporting prpgrainme. Seats should be reserved at the Bristol before 5 o’clock, or thereafter at the Theatre (’phone 5252.) “THE CAT CREEPS” Recognised as one of the really thrilling pictures “The Cat creeps,” which conies to the Regent to-morrow, is one which truly lives up to all that is said of it. It is a marvellous production and brimful of thrills. The scenes are those to make any person sit still with expectancy, and wait with shortened breath for the result. GRAND THEATRE “CRAZY THAT WAY.” Th e talking screen is capturing the best of the legitimate stage these days, days. “Crazy That Way,” now showing at tho Grand Theatre, is adapted Vincent Lawrence’s stage hit, “In Love with Love,” is the latest movie tone picture whi-ch perhaps exceeds the original version and bears out this contention. The cast includes Joan Bennett and Kenneth Mac Kenna. The second feature is a musical romance. •‘One Mad Kiss,” with Don Jose Mojica, the Grand Opera star, Antonia Morens, and Mona Maris. Seats may be reserved at the theatre office.