AMUSEMENTS

Camp News, Volume 1, Issue 11, 23 February 1940, Page 8

AMUSEMENTS

CITY AND EXHIBITION

PLAZA THEATRE. The thrilling, tender story of youthful dreams . . . triumphant against a mighty city’s heartbreak! The sensitive story of a boy’s tragic conflict . . . and a girl’s joyous love! The mighty story of romance ... in the life of a musician who became a prizering killer! It’s “Golden Boy,” the internation-ally-famous stage success by Clifford Odets, brought to the Plaza Theatre screen by Columbia Pictures. Directed by Rouben Mamoulian and starring Barbara Stanwyck, Alodphe Menjou and William Holden, the stirring new drama which has been hailed as one of the most gripping stories of raging conflict and warm romance ever captured by the camera! Holden, in the title role, was chosen for the part after a year-long, nationwide search in which more than 3,000 candidates were interviewed and screen-tested. That the carefulness , with which Columbia sought a screen ■_ new-comer and potential star is justified has been amply proved by advance reports. i Others in the stellar cast are Joseph Calleia, Sam Levene, Lee . Cobb, ■ Edward Brophy, William Strauss, ] Frank Jenks, Beatrice Biinn, Don Beddoe and Harry Tyler. ]

TUDOR THEATRE A poignant, dramatic story, based on one of the most stirring chapters •of the World War, a brilliant star in her finest role, and a cast of forty distinguished players, briefly sums up the entertainment ingredients of “Nurse Edith Cavell,” which is showing at the Tudor Theatre.

The fate that befell this great humanitarian is known to all, but the events leading up to that fateful dawn of October 12, 1915, when eight shots from a firing squad echoed around the world, have been chiefly buried in official war archives. The story opens at the Berckendael Institute, nursing home in Brussels, Belgium, which Edith Cavell managed prior to the World War. When the soldier son of a dear friend is captured by the Germans, escapes and takes refuge in Cavell’s hospital, the mother pleads with the nurse to aid him flee to neutral —which she does. From this human gesture an idea is born, fostered by the intrepid nurse and three close women friends. Before long hundreds of fugitive civilians and convalescent soldiers are being spirited across the Dutch border, much to the consternation of the counter-espionage operatives. But the day of reckoning is inevitable, and when it comes Edith Cavell and her faithful accomplices are arrested, brought to trial before a Prussian military court. The barbaric decision ; of that august tribunal is history, as , well as its terrific repercussions among the nations. , Anna Neagle’s brilliant portrayal is complemented by outstanding charac- • terisations from the strong supporting cast.

KING’S THEATRE. “Mr. Smith Goes to Washington,” Frank Capra’s latest Columbia hit, costarring Jean Arthur and James Stewart. ' Hailed from coast to coast as Capra’s most brilliant screen achievement, “Mr. Smith Goes to Washington” is justifying that acclaim by shattering all records of previous Capra successes, which include “It Happened One Night,” “Mr. Deeds Goes to Town” and “You Can’t Take It With You,” adjudged the best pictures of their respective years. A gay, exciting, warmly emotional comedy drama, “Mr. Smith Goes to Washington” is enacted by a truly outstanding cast. In addition to Miss Arthur and Stewart, who share the romantic leads, Edward Arnold, Thomas Mitchell, Claude Rains, Guy Kibbee, Ruth Donnelly, Eugene Pallette, Beulah Bondi, Harry Carey and H. B. Warner play prominent roles. Many others of importance handle the story’s record-breaking 168 speaking parts, and 43 impressive settings were utilised to show “Mr. Smith’s” sudden ascent to fame and its unexpected consequences. “Mr. Smith Goes to Washington” presents Stewart in the title role — a sincere, idealistic young man who overnight becomes a national sensation. Miss Arthur is cast as secretary to Stewart when the latter is appointed to fill an unexpired term in the United States Senate. Complications both serious and comic crowd upon one another in swift succession, mounting to a climax that makes audiences want to stand up and cheer.

I STATE THEATRE. For smash entertainment, with a theme as timely as to-morrow’s headlines and romance to thrill you, run down to the State Theatre, and see “20,000 MEN A YEAR.” This stimulatingly fresh Cosmopolitan production for 20th Century-Fox concerns the college youth of the nation, who are taking to the sky thousands strong in the year-old Civil Aeronautics Authority programme for training civilian fliers. As you know, the purpose of this programme is the stimulation of private flying as a means of promoting commerce and contributing to the progress of American aviation. The film, which features Randolph Scott, Preston Foster and Margaret Lindsay, is told from the viewpoint of the girls who live them and the men who train these eager lads. Randolph Scott is the instructor in charge, and the role is right down his alley. Foster is swell as a CAA official, described as a “tough buzzard with eagle feathers,” who wins Scott’s enmity but lives to change his mind. And Margaret Lindsay is delightful as the sister of one of the fledglings who doesn’t want to see her brother fly—and doesn’t care for flyers, until

| she falls in love with Scott! Here’s a picture that has everything! You’ll love it! The screen’s first family are prospecting for gold and dig up Injun ghosts, a gun-moll, bank-robbers and one gold nugget (lost from a miner’s watch-chain!) in their latest 20th Century-Fox picture, The Jones Family in “Quick Millions.” The film screens at the State Theatre to the delight of a larg audience, many members declaring it the best of the series by far. It’s a fine comedy which tells how the Joneses just return from their trailer trip to the West Coast, pack up for the West again when they receive word that a gold mine has been bequeathed them by a long-lost uncle. That’s the beginning of the. excitement and hilarity that reigns all during the film. Jed Prouty, Spring Byington, Ken Howell, George Ernest, June Carlson, Florence Roberts and Billy Mahan are featured in their familiar roles, with Eddie Collins, Robert Shaw and Helen Ericson included.