ENTERTAINMENTS

Wanganui Chronicle, Volume 75, Issue 12, 15 January 1932, Page 11

ENTERTAINMENTS

MAJESTIC THEATRE

"SPORTING BLOOD” IS GOOD "The Sport of Kings’* from stud farm to Derby Day—from the days of the foal to the days of the classic champion—the drama and love the i thoroughbred brings into me world at the dictates of men—tnis is what is brought to the screen at the Majestic Theatre in "Sporting Blood," a thrilling Metro-Goldwyn-Mayer production of love and the race-track. The scenes on a stud farm in the famous "blue grass” region of Kentucky are extremely interesting features of the film, and every episode is true to life. Thrilling race-track scenes at Churchill Downs and Latonia, famous courses on the Eastern circuit m the United States, give New Zealanders some idea of the conditions which Phar Lap may have to race under when he reaches the U.S.A. But.one does not have to be a racing man to understand the picture, and the love interest is a fascinating feature. "{Sporting Blood” should not be missed. The cast is excellent. Clark Gable makes fame for himself and Madge JSvans comes near to rivalling Norma Shearer in her style. Ernest Torrence, J. Barrel McDonald, Marie Prevost and Lew Cody are ail good in minor roles; but the star of the piece is "Tommy Boy,” the horse, and you’ll love him. Also screening is an excellent supporting programme headed by the lewest Laurel and Hardy comedy, "One Good Turn.” The latest issues of the Fox Overseas, Fox Australasian, and the Metroton News make a splendid introduction and the latest Vagabond Adventure travel film, “Mystic Isles,” scenes of Dutch East Indies, completes a rare programme. Plans are at Emmett’s ’nhone 5077. 1

'SPRING IS HERE.”

MAJESTIC THEATRE. The sparkling musical comedy production “Spring is Here” opens at the Majestic Theatre to-morrow, Brought to the screen by the producer of “Sally.” “Spring is Here” possesses all the elements to satisfy the public. Chiefly is humour to the forefront, provided by a band of notable comedians headed by the old favourite Ford Sterling. Indeed, the cast as a whole contains players of considerable note, both on the stage and screen, namely, Louise Fazenda, Bernice Claire, Lawrence Gray, Alexander Gray, Inez Courtney, Frank Albertson, and Natalie Moorhead. There is a freshness and sparkle in this talkie about spring that contains all the essence of that volatile season. A number of catchy songs is introduced in the course of the picture, which really have a bearing on the story, according to the best of musical comedy standards, and a pretty love story casts its thread through the action. As to the action itself, that is fast-moving on wings of mirth, melody, and romance. The dialogue is clever, and is throughout productive of continual merriment. Good English is spoken, and all the songs are excellently reproduced, given as they are by accomplished singers. The story of “Spring is Here” concerns a very good young man who is sincerely in love with a young lady who, however, is anything but encouraging to him because he cannot provide her with the thrill of romance. She becomes infatuated with a stranger, whereupon the spurned lover awakens to the call of spring, and flirts outrageously with all the women available. His perambulations have the desired effect, and everything comes out all right in the end. All patrons who like musical comedy will enjoy “Spring is Here,” and those who may not like it be converted to it.

GRAND THEATRE

“THE CHINESE BUNGALOW.” Packed with dynamic drama, thrills and romance, “The Chinese Bungalow,” a British all-talking feature, starring the incomparable Matheson Lang, is showing finally to-day and to-night at the Grand Theatre. In “The Chinese Bungalow,” Matheson Lang has his finest picture. Ringing with action, the part gives him opportunity to display his talent to the extent which made “The Chinese Bungalow” such a success when presented on the stage by him. The story is one concerning a wealthy Chinese who is Westernised in manner but still Eastern in nature when a white man steals the love of his European wife. Furious with the lovers, Yuan Sing plans a party at which the two shall drink with him—alone. One of the glasses contains poison, and, as the glass is unknown, each might meet death. Contrary to all supposition, the rich mandarin is a highly educated individual, westernised in manner and speech, the only characterisation remaining of Oriental nature being the sinister and Sphinx-like nature that one loves to hate. Matheson Lang, who enacts the part of Yuan Sing, the mandarin, in “The Chinese Bungalow”’ gives the best performance of his career, his portrayal being neither magnified nor underdone. It is an epic of perfect acting and dialogue. Jill Ea mond Moore, Derek Williams and Anna Neagle act as fitting support to Mr Lang in “The Chinese Bungalow 7” which was directed by J. B. Williams and recorded by the RCA Photophone system. “Paradise Island” To-morrow The only white girl on a South Sea Island—and desired by three men. That is the plight of Marceline Day as Ellen, heroine of “Paradise Island,” the Tiffany musical comedy drama at the Grand Theatre to-morrow 7 . The three men are portrayed by Kenneth

Harlan, Tom Santschi and Gladden James, and other characters entering into the plot are enacted by Betty Boyd, Paul Hurst, Vic Potel and Will Stanton. “Paradise Island,” an original story by M. D. Dearing with scenario by Monte Katterjohn recorded by RCA Photophone, tells of romance, intrigue and adventure in the tropics, where every man is his own law. Jim Thorne and Mike Lutze were once partners in adventure, but Lutze’s treachery won him the enmity of Thorne and since then they have been deadly rivals, with Thorne nearly always winning Lutze’s ships, his cargo, and his girls. At the time of this story Thorne is out to spoil Lutze’s exclusive pear) trading on the isle of Tonga, where h« has no competition. Among the pearls’ that Thorne gets from Lutze is Eller Bradford—and that is what provides “Paradise Island” with a romance that is said to be thrilling, intriguing and delightful.

REGENT THEATRE

“CITY OF SONG” SHOWING There are three features which live in memory when one thinks of the “City of Song,” showing finally to-day and to-night at the Regent Theatre—the realistic settings, the splendid voice of Jan Kiepura, the renowned Viennese tenor, and the acting of Betty Stockfield, the Australian actress. It is a picture which seeks to blend mysti'c Italy with the matter-of-factness of Old England. The scenes take one through the streets of Naples, Vesuvius smoking languidly in the background, round the ruins of Pompeii, over the waters to Capri and from there to London and Albert Hall. The story on which the picture is based is the age-old one of romance woven round an English girl and an Italian lover. The city of song (Naples and its surroundings) imparts to their meeting an undeniable note of appeal. She feels herself drawn along irresistibly, by the voice he has. Under the spell of that romantic setting she decides to build castle round a new-found hero. That hero, ambitious for himself, perhaps, but deeply in love with the girl who has come out of the mists to lift him to fame, forgets his simple love beside the shores of Naples. He goes to mighty London, but there, the spell that his own country wove round the girl of his dreams, is broken. He reI sents the persistence with which her male acquaintances make love to her. Capri and London are as the Poles, wide apart, and round that gulf the story has been made to revolve. Jan Kiepura plays the, part of the romantic guide from Italy who Betty Stockfield, as Claire Winter, seeks to make a great singer. A Clever note of comedy is introduced by Hugh Wakefield as the Hon. Roddy Fielding, Claire’s good old standby. He is typically English and never at a loss for a laugh. The acting of Chi, the little Italian boy is outstanding also. “The City of Song” is a picture that is unusual, but is appealing for the three features already mentioned—the realistic settings, fine tenor singing, and a remarkable feminine lead. There will be a matinee this afternoon and the picture will be shown again to-night with a good supporting programme.

Palmy Days” To-morrow

Eddie Cantor is his old. self, his old glory-—bouncing, prancing and dancing in “Palmy Days,” commencing tomorrow at the Regent Theatre. His beady black eyes still look up at the ever constant menace that threatens to exterminate him. In “Palmy Days’’ Cantor fulfills his promise in “Whoo pee”—that he is in pictures to stay, and that the screen has a definite place —a high place, for him in Its roster of favourites. Eddie is aided and abetted by the long Charlotte Greenwood, she who has legs like the hands of a clock. Together they amble and ramble through the blithe nonsense of the story as hosts and leaders to the battalion of Hollywood’s most decorative femininity. Ear;**; a Weeks, one

of Samuel Goldwyn’s newest discoveries, lissome, winsome and sweet, is a not inconsiderable attraction in the bevy. Miss Weeks shares with Eddie Cantor and Charlotto Greenwood the gay burden of the story, which was written by Cantor, Morrie Ryskind and David Freedman. It concerns the adventures of Eddie, who is sent as efficiency expert to wreck the fantastic bakery of Mr. Clark. Eddie is in the hands of a gang of crooked spiritualists. By using Eddie as a dupe, they plan to destroy the plant and be able to buy it cheaply for a rival. Cantor, pursued by a gym. teacher (Charlotte Greenwood), breaks into the president’s office at a bakery just at the moment ■when the efficiency expert is really expected, and is thus unwittingly i forced into reorganising the bakery, its staff of salegirls and factory workers that would outdo any “Follies”—he is jolted out of one romance into an other and then back again. The story races from the factory to the scented, mystic scene of a spiritualist’s inner sanctum, to the garden party of the president, to a trick gymnasium, to ar. ornate sweet shop—on and on, breathlessly.