ENTERTAINMENTS

Waikato Times, Volume 116, Issue 19460, 27 December 1934, Page 3

ENTERTAINMENTS

CURRENT PROGRAMMES. STATE THEATRE. Hilarious comedy, deftly blended with moments of pathos, is the film fare at the State Theatre. The picture is “The Show-off," an adaptation of one of the most famous stage plays of the modern theatre. The star is Spencer Tracy, ably aided and abetted by Madge Evans, Lois Wilson and others of note. “The Show-off" is the story of J. Aubrey Piper, a young man who thought himself, about the most important person on 'earth. The show gets its title, “The Show-off,” from this character, played by Tracv. He rings true in every scene. He is the man who thinks he knows everything about everything, and doesn’t hesitate to tell the world how good he is. His boasting, his strutting, his wild flights of imagination get him into a series of humorous complications. • Knocked from the rail of an excursion steamer in the excitement that follows an accidental fall of another passenger, he is credited with saving the life of the other man, and takes his congratulations expansively. It is apparent that this is nothing at all to J. Aubrey Piper. Madge Evans gives a fine performance as the girl who falls for Tracy’s fast line of talk, marries him, and then discovers that he is just a braggart. Because sho loves him she tries to soften his falls, to bring him to a realisation of his worthlessness, and almost breaks her heart in the effort. But for the most part the play is built for comedy and garners a continuous s.lream of laughs.

REGENT THEATRE. A far cry from the drama of “The House of Rothschild" is the comedy of “The Last Gentleman,” in which George Arliss is to be seen to-day: As Cabot Barr, a wealthy, irascible, family-proud old New Englander, who calls together his relatives in the vague hope of finding a worthy heir, Arliss offers another of his' rich and perfect portraits. Immediately the members of the family are assembled under his roof he proceeds to insult and humiliate them and accuse them of being after his money, for the mere fiendish glee of seeing them squirm. Among those present are Edna May Oliver, as his sniffling but likeable daughter; and Frank Albertson, as Allan, her adopted son; Janet Beecher as the widow of Cabot’s late son, and Charlotte (“Alice in Wonderland”) Henry as her daughter, Marjorie; and Donald Meek as Judd, Cabot’s only living son, a thorough-going scoundrel who has been secretly recording his father s eccentricities in the hope of proving him insane and inheriting his estate. The shock of his son’s treachery in bringing an alienist to examine him breaks old Cabot’s heart and health beyond repair; but the film ends on a cheery note. A coloured cartoon, “The Flying Mouse,” is a feature of the supporting programme. CIVIC THEATRE. “Marie Galante” will please those who seek the ultimate in thrills and a warming human story. Ivettie Gallian, lovely importation from the European stage, makes her screen debut in this film. She has the qualities which should place her among the popular personalities of the screen —beauty, talent, great personal charm. As the wistful "Marie Galante,” lost far from her homeland in a maze of international intrigue, always seeking a return to the dear France from which she has been torn, Mile. Gallian creates one of the most touching figures to reach the cinema. Spencer Tracy, forceful and dynamic, plays opposite her as the young American who at first tracks her down as a suspect, then comes to her defence. Together these two players weave a spell of romance, to which is added the glamour of the story’s setting—the vivid life of the Canal Zone, with its mysteries, its passions and its secret streets.

Such stellar players as Helen Morgan, Ned Sparks, Robert Lorraine, Slegried Rumann, Leslie Fenton and Arthur Byron have strong' supporting roles, and Jay G. Flippen, Slepin Fetchit and Tito Coral are seen in effective “bits.”

"Marie Galante" has several song hits, including “It’s Home," “Song of a Dreamer” and “Serves Me Right for Treating You 'Wrong.”

THEATRE ROYAL. Gorgeous spectacles and lavish ensembles, bright songs and 'delightful comedy situations, interwoven with a refreshing story make the musical pro-

duction “Dames" entertainment of a high standard. The story has the familiar background of a struggling playwright endeavouring to stage his “show." The chorus scenes are magnificently staged and the “tunnel of living beauty” number is a triumph of screen photography. Ariother scene which is remarkable for its spectacular lavishness is the “tapestry of living girls.” In one scene the whole chorus appears as a garden of living white waterlilies, and in another a series ol clever designs is formed by the bevy of attractive girls. A feature of outstanding merit is the clever “girl at the ironing board" scene, in which the chorus is led by Joan Blondell. The. romantic interest in the story is provided by Dick Powell and Ruby Keeler, and the former is particularly good as the energetic and ambitious playwright, Jimmy. Joan Blondell, as the attractive and somewhat unscrupulous "Mabel,” acts splendidly, and sings two of the songs in a fascinating manner. Merry comedy is provided by Zasu Pills, Guy Kibbee and Hugh Herbert. The last-named as Uncle Ezra gives a particularly fine performance, but he is more than ably supported by the other two. The film includes many delightful songs, the theme song, “Dames,” sung by Dick Powell, being the best. Another song number of merit, which is sung by Dick Powell,, is entitled “I Only Have Eyes for, Yo.u;" wjiile Joan Blondell’s rendering of “The Girl at the Ironing Board" is very entertaining.

ROXY THEATRE. “Sing and Like It," to be screened to-day, is a very funny comedy, with amusing situations and witty dialogue. Zasu Pitts and Edward Horton head the strong cast, and keep the audience chuckling. “The Red Rider,” a sensational Western thriller, with popular Buck Jones in the lead, is also screened, making a well-contrasted programme.