ENTERTAINMENTS

Wanganui Chronicle, Volume 74, Issue 280, 26 November 1931, Page 11

ENTERTAINMENTS

MAJESTIC THEATRE

“THE DREYFUS CASE” The tragic story of Captain Alfred Dreyfus, an innocent French army officer made the victim of a .ravesty of justice, is recounted with all its pathos in the distinctive English film version of the play by Herzog and Rehfisch, showing at the Majestic Theatre to-day. The eminent English critic Michael Orme says: “The poignant drama of ‘Dreyfus’ springs from the vindication of truth rather than from the suffering of a single man. Of that suffering we catch but :.n occasional glance, an almost ironical reminder of the unhappy bone of contention. These glimpses are made memorable by Cedric Hardwicke, whose cry Df ‘I am innocent —innocent!’ rings in the ears; while his mute resignation to his fate on Devil’s Island and the superb restraint of his first faltering footsteps into freedom after his temporary release for a new trial is a moment that will live in the annals of screen acting. A remarkable company has been called together for the Interpretation of ‘Dreyfus.’ The powerful Zola of George Merrit, the grave and sensitive Colonel Picquart of Charles Carson, and the dynamic Labori of Sam Livesay stand out in a cast wherein each member cxactlv fits the frame. Firmly planned and edited with fine discretion by John Harlow, ‘Dreyfus' Is an arresting picture; the austerity is well as the sinceritv of Elstree’s handling of this historical document bring to the British International picture a rare dignity and' a compelling power which owe nothing to convention.” Mr Orme is a •critic of worth and his opinion should count for much. The drama of the Dreyfus case is so poignant that its presentation on the stage or screen cannot fail to be fraught with deep human interest. The ultimate triumph of justice over the cross-purposes of politic 11 conspiracy will strike an answering chord in the hearts of all who see the film, ft was in October, 1894, that Captain Dreyfus was unjustly convicted by court-mar-tial on a charge of espionage. He was sentenced to life imprisonment in the following December. The subsequent outcry almost precipitated a national crisis. In spite of forged documents and corruption, his honour was finally vindicated in 1906 when ho was given the rank of chevalier in the Legion of Honour. Later he gave distinguished service to his country in the Great War. At present he is living in retirement in Prance. An excellent British supporting programme is headed by the “Glasgow Orphans’ Choir,” of 85 voices, tinging “The Bonnv Banks of Loch Lomond,” and other old favourites. Dians are at Emmett’s, ’phone 5077. DUCHESS THEATRE. “UP THE RIVER” Coming at a time when genuinelyhilarious comedies are at a premium, “Up the River” will bo screened at the Ducjiess Theatre to-night (Thursday). Many unique features are said to characterise this production. The story, an original by Maurino Watkins, revolves around the earnest efforts of two hard-boiled burglars to promote a romance that begins behind the bars. These lads hold the gaolbreaking championship of the country, and they employ their peculiar talents with considerable frequency, even to the extent of breaking out of one gaol to get into another when the comforts of the first do not measure up to their standards. Meanwhile, the romance staggers along, helped over the bumps by the aforementioned volunteer Cupids who eventually manage to bring it to a satisfactory conclusion. Spencer Tracy and Warren Hymer play the roles of love’s little helpers, with Humphrey Bogart and Claire Luce in the romantic leads. Miss Luce is a delightful newcomer to the screen. William Collier, senr., and Joan (“Cherie”'! Lawep are also featured. The supporting cast is a strong one. G.O.K. PANTOMIME. All the proceeds from the G.O.K. pantomime presented at the Opera House last night, go to the Unemployment Relief Funds. The whole programme went with good appreciation

from the audience. Those in the pantomime gave even better performances than at the first night, and the songs and ballets were, as before, a feature of the show.

REGENT THEAT’ ”1 “EYES OF THE WORLD” Sounds of a struggle emanated from a lonely cabin nestling in an isolated clearing in the midst o? a majestic forest. There was a scream, a scream of a woman in distress. Slowly a shadow crept from the underbrush and stealthily moved toward the cabin. It was a woman, a queer woman with a veil closely hiding her features. She listened at the door for a moment, then entered, and . Just in time. A man was forcing his attentions upon a young and beautiful girl. In her hand the woman of mystery held a gun. Pointing it toward the man she spoke in a voice low, but tensely vibrant with emotion. “Get down on your knees and pray. In one minute I am going to pull the trigger of this gun!” The clock on the mantel ticked ominously. The abject figure of the man mumbled incoherently. The woman stood in stonelike stillness with the gun pointing at the man. A half minute flew by, then three quarters and then— See what happens in the “Eyes of the World,” now showing at the Regent Theatre. Beautiful romance, powerful drama and natural scenic effects have been combined in an unusually entertaining motion picture by Henry King whose “Eyes of the World” stars with Una Morkel, John Holland, Nance O’Neil and Brandon Hurst in the featured cast. In this worthy dramatisation of the popular book by Harold Bell Wright, Director King has achieved an out-door romance that compares favourably with his classical “To!’able David.” and “The Winning of Barbara Worth.” The story is placed in the mountain country of California and unfolds the romance of a simple maiden of the hills who meets and falls in love with a young artist from the cities. Their tender adventure is rudely disturbed through the scheming of an unscrupulous, love-starved matron who desires the companionship of the artist. The story moves quickly through an amazing pattern-work of thrilling and dramatic scenes, rising to a crescendo of and forgiveness each have their moments of triumph. “Eyes of the World is an exceptional work of entertainment, with an easily-understand-able plot that comes to a satisfying and logical conclusion. GRAND THEATRE. ••UP FOR MURDER.”

Lewis Ayres, the boyish actor of “All Quiet on the Western Front” and “Common Clay,” gives another splendid study of adolescent manhood in “Up For Murder,” now showing at the Grand Theatre. Monta Bell, an eminent journalist of wide experience, wrote the story and directed the picture with insight. The tense drama of the plot has been developed logically and without any concessions to mere sensationalism. Ayres is the perfect choice for the part of a young reporter on a large metropolitan daily. His disappointing early years are deftly traced through his first important assignment as escort to the beautiful social writer at a brilliant international ball, until he stands under the shadow of the gallows after being found guilty on a charge of murder. The episodes leading up to this position include the youth’s importunate avowal of his love for the social editor; his discovery of the relationship which exists between the woman and his news editor; and the swift, tragic scene in which the two men meet face to face on common ground. The climax is ■reached with the woman’s revelation of the true circumstances surrounding the death of the older man. Through all the changing moods of the story, Ayres conveys a sincere impression of the idealistic youth. Genevieve Tobin endows with poise and dignity the part of the worldly social editor, and Dorothy Petersen is splendid as the hero’s beautiful mother. The whole film progresses with such verve and speed that even the most exaggerated type of .journalist depicted rings true.