AMUSEMENTS

Camp News, Volume 1, Issue 23, 17 May 1940, Page 8

AMUSEMENTS

STATE THEATRE. For the first time- since the completion of the famous Manginot. Line four years ago which is now the scene of war, and which runs along the French and German border for a distance of 600 miles from Belgium to the Swiss Alps, a drama has been-photographed in and about this gigantic and almost impregnable line of defense. Deep down in the recesses of the earth, eight stories to be exact, a company of outstanding French players were given permission by the French Army to enact the stirring scenes embodied in “Double Crime in the Maginot Line,” a (French production with English titles, which is currently the feature attraction at the State Theatre. In the featured role is Victor Francen, one of the outstanding French stage and screen stars ably assisted by the only woman member of the cast, Vera Korene. The story tells of a veteran Franch Army Captain who during . the occupation of the Rhine "fell in love and married a German girl. Later when he is transferred to one of the sectors of the Maginot Line, he becomes involved in a mysterious murder of the new commander, with his Ger-man-born wife a central figure in as mystifying and dramatic story ever filmed in the catacombed depths of the Maginot Line. Packed with thrills and dramatic suspense, “The Marines Fly High,” screening at the State Theatre, opens at a military cantonment in a little

Latin American - country where a group of U.S. Marine officers and noncoms are stationed for the purpose of organising and training a native army to halt a reign of terror conducted by Vengador a mysterious and notorious bloodthirsty bandit chieftain and his ruthless followers.

Dix, in the role of a Marine lieutenant and flyer, is engaged in drilling a company of native soldiers, yet finds time to court Lucille ball, an American girl and sole owner of a large cocoa plantation. The arrival of Chester Morris, another Marine pilot with a replacement plane, heralds the beginning of a determined rivalry between the two aviators over the girl. This condition becomes more complicated when Steffi Duna, a native dancing girl, endeavours to rekindle an old romance with Dix. To tell more of this interesting story would spoil your entertainment. We advise you to see it. ■- l ''' , — — /.///’/ TUDOR THEATRE Michael Redgrave sings for the first time on the screen in a scene in the film “A Window in London/’ screening at the Tudor Theatre. “Let’s all sing like the birdies sing!” is the song, and it is introduced into the picture during a frivolous party sequence. x Michael would probably be the last person in the world to suggest that his voice was something to sing about, but those who heard him on the set were more than a greeably surprised at his pleasant baritone. “You mustn’t take my vocal efforts too seriously,” says Michael, “as I

don’t pretend to be a singer. You see, according to the story, I go to a party where, due chiefly to alcoholic influences, I suddenly enter the spirit of the affair and let go. Everybody starts singing and I find myself doing a solo!”

“A Window ig, London” is his fourth film in just over a year, and is being produced by Josef Somlo and Captain Richard Norton, for release by Qaumont.

The associate feature is “Pack up Your Troubles,” with an excellent cast headed by the Ritz Brothers, Jane Withers and many supporting players. It’s a delightful comedy that will keep you laughing for a month.

KING’S THEATRE.

Acclaimed as one of the finest films of the year, “U-Boat 29,” a Columbia picture with a vitally topical theme, is now showing at the King’s Theatre.

The story is based on J. Storer Clouston’s famous novel, which relates the attempt of an enemy submarine commander to obtain from an alleged spy, information concerning the movements of the British fleet. How the attempt is foiled by the counter-activities of a British naval officer and a village schoolmistress is told in amazingly thrilling style.

The picture is easily one of the fastest-moving films this reviewer has seen. It is certainly a distinct credit to British production technique and a big feather in the cap of all concerned.

Conrad Veidt has the title role, playing the part of a foreign spy, who is infatuated with and eventually duped by a Scottish school teacher. Such a characterisation, naturally affords Veidt enormous scope to effect another of the powerful and gripping portrayals for which he is famed. His performance is tremendous.

Valarie Hobson, fresh from her triumph in “Q Planes,” plays the role of the intriguing school teacher, giving a performance which further enhances her claims to be regarded as Britain’s foremost feminine star.

PLAZA THEATRE. IN SPITE OF WAR. English producers .are not being deterred by war. It is their claim that the industry has reached a stage when it has advanced too many steps forward to take one back and despite the war the fruits of the British Studios are in abundance. Instanced is Gaumont-British-Dominions, who are currently and shortly releasing “A Windon in London,” “Frozen Limits,” “The Crowd Looks On,” “The Spider,” “The Stars Look Down,” “They Came by Night,” “Charlie’s Aunt,” “Missing People,” “The Band Waggon,” “On the Night of the Fire,” and there is no intention of slackening their present schedule. On the Night of the Fire,” screening at the Plaza Theatre, is an emotional, melo-dramatic story revealing how one crime descends to another, the trials, tribulations and agonies of a conscience-stricken man, suspected, watched, hunted and chased—the ordinary human being who reaps what he sows. This role is. ably portrayed by Ralph Richardson, who most successfully maintains the suspense and interest throughout the drama. He is partnered by Diana Wynyard. who lenders a remarkable performance.