MAJESTIC THEATRE

Wanganui Chronicle, Volume 79, Issue 305, 30 December 1935, Page 7

MAJESTIC THEATRE

“BONNIE SCOTLAND.” After the reception accorded on Saturday at the Majestic Theatre to “Bonnie Scotland” no one could accuse the Scots of not being able to take a joke on themselves, for it was an audience of whom a large majority spoke either in rich Doric or in the soft accent betraying Gaelic as their mother tongue that roared with laughter at the antics of Laurel and Hardy as privates in a Highland regiment. Poking fun at the Scots to their faces might be regarded as one of the fine arts, for they are in many ways a touchy folk, and a blunderer who carries his joke too far might have cause to laugh “on the wrong side of his face.” No such mistake is made in “Bonnie Scotland.” Wisely, the two comedians do not try to be Scotsmen, though Laurel tacks a “Me” on to his name, but are confessedly Americans of Scots descent on a visit to the land of their fathers, where “McLaurel” expects a legacy out of his grandfather’s estate. The legacy turns out to be an historic set of bagpipes and, unable to turn these into ready money, the two destitute Americans join a Highland regiment which has been detailed for duty on the North-west frontier of India. Their adventures in frontier warfare parody to a certain extent those of the gallant trio in “Lives of a Bengal Lancer,” though there is a slight love story such as was lacking in the latter pic-ture. It is not, however, all fooling, which might grow wearisome in a full-length picture even when done by two such masters as Laurel and Hardy and the excellent cast by which they are supported. Some of the glimpses of the Highland regiment on the march, with sporrans swinging and pipes skirling, made even the sluggish Sassenach blood run faster, and one of the tricks that the old hands play on the recruits, when to explain what a mirage is one of them pretends to be playing an invisible concertina while the musician, hidden under the bed, gives a vigorous rendering of “The Hundred Pipers,” is, besides being an uproariously funny scene, a musical treat as well. The supporting programme is equally as good as the major item, including an ••Our Gang” comedy, a cartoon in colour, “Barnyard Families,” and a gazette that gives glimpses of the war in Abyssinia, mobilisation in Italy and the discussion of the problem by the League of Nations. “Broadway Melody of 1936.” Tuneful new songs, excellent dancing and good cst arc combined in “The ! Broadway Melody of 1936,’’ to make what promises to be ideal holiday en- ! tertainment. This new him opens at [the Majestic Theatre at to-morrow night’s midnight matinee, starring ' Jack Benny, famous for his comedy work on the radio, and Eleanor Powell, [a star new to Wanganui filmgoers. . . “a really superb .tap dancer,” said one critic, “performing the most intricate steps with ease; she should thrill those who enjoy dancing.’’ .Robert Taylor takes the part of a play producer who is in the midst of casting his musical show and is visited by Miss Powell, his home town childhood sweetheart, who begs him to let her appear in his play. But he refuses, feeling that she is too nice a person to be mixed up with Broadway life. But Una Merkel, as Taylor’s secretary, has conlidence in Miss Powell and hits upon an idea to make her famous —and here the sparkling comedy begins in earnest. Like its brilliant predecessor of the earliest days of talking pictures, it introduces songs that are sure to be hummed and whistled for weeks. Among the numbers are ‘‘Broadway Rhythm,” ‘l’ve Got a Reelin’ You’re Foolin’”, and “On a Sunday Afternoon.” It introduces also another newcomer to the screen in the person of Harry Stockwell, who, because of a fine voice and a pleasing personality, should become very popular.