CITY THEATRES

Press, Volume LXXI, Issue 21409, 27 February 1935, Page 3

CITY THEATRES

REGENT "EVENSONG" "Evensong," Beverley Nichols's much-discussed story of the rise and fall of a famous prima donna, has been adapted to the screen by the Gaumont British Film Corporation, and those who have seen it at the Regent Theatre must agree that the result reflects nothing but credit on that organisation and adds to the reputation of the very fine cast engaged. At the time of its publication it was alleged that "Evensong" was nothing but an unauthorised life of Dame Nellie Melba", Australia's queen of song, but containing exposures of the frailties and weaknesses of the prima donna in her later life, that no biography should contain. The story deals with the life of an Irish girl blessed with that most divine of- gifts—a beautiful voice—how she goes to Paris with a young musician who also has ambition, receives training from a famous teacher, is eventually accepted by the Paris opera, and then embarks on a career that takes her on a rising tide of success through very capital of the world. It tells of the sacrifices that a singer must make to her voice—she must deny herself all the good things of life, even love itself. From the outset the subject of Beverley Nichols's story takes the name of Irela, and she is fortunate indeed in having as her manager a man who worships nothing on earth but her voice. Finally there comes the bitter disappointment of her failure, and the time when the public transfers its plaudits and rewards to a rising star. Evelyn Laye brings all her splendid dramatic gifts to bear on a magnificent interpretation of the part of Irela. After her the honours go to Fritz Kortner, Irela's devoted manager—a fine characterisation. The love interest in the picture is subsidiary to the main theme, but both Emlyn Williams, as George Murray, the young musician who enabled the little Irish girl to get her first training in Paris, and Carl Esmond, as the Austrian Archduke who falls in love with the great singer, contribute worthily to the splendid characterisation of the film. There is a wealth of the best music throughout, and some splendid singing is heard. Evelyn Laye herself has a fresh voice that is fully capable of coping with the intricacies of the operatic arias she has to sing during the picture. Two famous singers lend valuable support—Cbnchita Supervia, regarded both in America and Eurcwe as the finest Carmen of the present day, and Browning Mummery, who is now touring Australia with the Fuller Opera Company. The former takes the part of Baba, and the latter is heard

in some charming operatic numbers and Neapolitan ditties. There is an interesting supporting 1 programme. "WHAT EVERY WOMAN KNOWS" It was a red-letter day for the legitimate stage when Sir James Barrie's beautifully human play, "What Every Woman Knows," started on its successful career, and won hearts all the world over. And it is equally a signal triumph for the motion picture world when that fine artist, Helen Hayes, leads a distinguished cast in the excellent filmed version, which in some respects is more striking than the original stage production. Gem after gem of thought and feeling, the cream of the Barrie genius, make this picture an intellectual treat; and those who wish to see intellect and genuine emotion take their proper place in the motion picture world should certainly not miss "What Every Woman Knows," which will be presented at the Regent Theatre next Saturday. Helen Hayes makes a complete conquest not only of her husband, played by Brian Aherne, but of every heart in the audience.

In short, a better screen play than "What Every Woman Knows" has not yet been made. Box plans arc now open at the D.I.C. MAJESTIC "CARAVAN" Hungary during the wine-harvest; hordes of picturesque gipsies on whose music, according to Tokayan superstition, the merit of the vintage depends; one of those superb castles, all banqueting hall, staircase, and moonlit terrace; and the lovely young Countess Wilma (Loretta Young) whose inheritance depends on instantaneous marriage—such is the material of "Caravan" which is now being shown at the Majestic Theatre. The cast has been chosen with great success. Loretta Young plays to perfection the light-hearted, vivacious Countess, temporarily lost among the staid and portly castle retainers and the "family traditions." Phillips Holmes, as the handsome, debonair and dissolute young lieutenant, and Charles Boyer with his swarthy Tziganic charm, are no less convincing. The hardest part is that of Jean Parker, who plays Tinka, the fiery little gipsy girl from whom Countess Wilma steals her man, Latzi. But Tinka gets him back in the end, and the caravan goes happily on its way when the three-day wine harvest is over.

Music is the raison-d'etre of the film, and the score was written by Werner Richard Heymann, who was taken, from Vienna to Hollywood for the work. The three song hits include "Wine Song"; a bright and sparkling dance tune, "Ha-Cha-Cha," and "Happy, I am Happy." "THE GAY DIVORCEE" THE MAYFAIR'S OPENING ATTRACTION

With the inspired dancing of Fred Astaire and Ginger Rogers and also the apparent capabilities of Astaire to play romantic symphonies on the hearts of feminine picture-goers in a new and whimsical manner, R.K.0.-Radio's great musical comedy, "The Gay Divorcee," will be the opening attraction at the Mayfair Theatre (in Worcester street, opposite the Government Buildings) on Friday at 8 p.m. It is one of the first musical comedies to issue from Hollywood boasting a genuinely complete and laughable romantic story. It is one of those complex imbroglios that give all disappointed lovers an opportunity to laugh at film lovers whose plight is far, far worse than their own. Ginger Rogers, after falling in love with Astaire, a victim of his inimitable dancing, his songs, and his whimsicalities, decides to get rid of her boy friend so that she can accept Astaire's impetuous wooing. She arranges to hire a "professional flirt," with whom to stage a false "affaire d'amour." She hopes this will make her boy friend so jealous that he will release her from her obligations. Astaire comes along in such circumstances that Ginger Rogers believes that he is the professional flirt. There is an hilarious climax. Rivalling the astonishing verve of Astaire's performance is the brilliant work of Ginger Rogers, Alice Brady, Edward Everett Horton, and Erik Rhodes. Then there is music by five great composers, ensembles of beautiful girls, the new ballroom dance, "The Continental," demonstrated by Astairf and Ginger Rogers, 50 daring adagio dancing couples, and many other novelties too numerous to mention. Box plans are at the D.I.C.

TIVOLI

"THE MAN WHO RECLAIMED HIS HEAD" There is really a terrible significance about the strange title which this interesting film bears. A man does reclaim a head, literally; he reclaims, too, a noble soul and a great mind which, given unstintingly in the cause of world peace, had been misused and betrayed by the forces working against peace. The film is mechanically and artistically of a very high order: its story moves one intensely and the acting reaches a pitch of excellence where every characterisation runs smoothly in the fine rhythm of the tale. But it is as a piece of anti-war propaganda that the film seems to have its highest value. Whatever individual views may be about pacifism and war, this story must have a profound moral influence against aggressive militarism and against the machinations of warmongering armament manufacturers, if any such dreadful persons as those portrayed here exist. Strictly this could not be described as a war film. It is not just another "Journey's End." There is blended with the propaganda of the film a tale of ordinary domestic love which takes away some of the bitterness ol many of its scenes. But there is still the urgency of a serious moral. The real war in this picture is made behind the lines by the men who represent an international armament ring. Claude Rains, as the betrayed writer who takes his revenge so dramatically, makes the flesh of men creep in one scene, and makes the women weep in the next. Joan Bennett, his wife, acts splendidly and

with ti restraint which is her most valuable stage asset. Lionel Atwill has the role of the ambitious politician and in the smaller roles are noticed the faces of quite well-known film people. "THE NOTORIOUS SOPHIE LANG" "The Notorious Sophie Lang," the next feature to be presented at the Tivoli Theatre, introduces a new "star" in Gertrude Michael, a fascinating blonde who has risen to fame overnight. "Sophie Lang" was the world's most wanted woman, yet the men who wanted her most did not know her when they saw her. The police knew only that somewhere at large was an adventuress, who never left a clue, but that it could be this woman, the centre of attention wherever she went, seemed unbelievable. Included

in the cast are Paul Cavanagh, Alison Skipworth, and Leon Errol. Box plans are now open at the D.I.C. PLAZA "THE COUNT OF MONTE CRISTO" "The Count of Monte Cristo," an outstanding film with an outstanding cast, is now in its fourth week at the Plaza Theatre. The directors have shown an almost uncanny skill in translating a novel so long and so complex to the screen, and the picture brings back vividly to the observer all the genius of Alexandre Dumas.

Two of the actors are outstanding—as Edmond Dantes, Robert Donat, the London stage star, gives a perfect characterisation, while O. P Heggie. as the Abbe Faria, i? exceptionally good. Elisra Landi makes a charming heroine, and every member of the supporting cast does full justice to his part. "TRANS-ATLANTIC MERRY-GO-ROUND" A compound of melodrama with a full range of card-sharpers, gunmen, confidence tricksters, unfaithful women, and the modern theatre revue, "TransAtlantic Merry-go-round," which will commence at the Plaza Theatre on Saturday, is exciting enough to interest anyone, even if the tangle becomes a trifle obscure now and again. It all begins on the palatial liner Progress, with two resounding pistol shots and the ship's officers trying to break into a cabin. Then the hands of the clock go back 48 hours, the time of the ship's departuie from New York. It shows Anyu Rosson's departure from

her husband, after which he quietly steals on board to see his own and her disgrace, as this society woman is in love with Lee Lother, a smoothfaced crook, whose proficiency at poker is very unfortunate for others in the game. Then there is Chad Denby and his troupe of revue players, headed by Sally Marsh, whom Lee desires, and who also fascinates Jimmie Brett, another cheerful crook with the manners of an Oxford undergraduate; and there is Dan Campbell, who meanders through the voyage in an advanced stage on intoxication. It seems that Lee Lother has one of Denby's company in hi<? power for having at one time forged his unworthy name to a cheque. Sally gets to know of this, ana begs Lee to release the boy from this thraldom. Lee promises to return the forged cheque to Sally in her cabin after a revue show, and here the two shots are fired, and Lother ceases to live. Who has fired the shots? The examination of all those possibly involved in the murder is being conducted by a police inspector, when there is another shot, and Mrs Rosson falls dead. Her husband, fully alive to her infidelity, has done what he went on board to do. So there are thrills up to the last minute. Gene Raymond, Nancy Carroll, Jack Benny, Sydney Howard, Mitsi Green, Sidney Blackmer, Ralph Morgan, and Shirley Gray all do good work, while the Boston Sisters croon harmoniously, in the revue, which is marked by some extremely clever ballets." The, girl who mimics Georee Arliss is also one to be seen.

"Peculiar Penguins," Walt Disney's latest Silly Symphony, which will be screened in the supporting programme, is based on the customary practice, whereby, it is said, a penguin, after strutting about his lady love, lays a small pebble at her feet, and if she accepts it, they are engaged. In "Peculiar Penguins," however, Disney has Peter present Polly Penguin with an ice-cream cone made from an icicle and a handful of snow, instead of the customary pebble. GRAND "EVERY WOMAN'S MAN" . Max Baer, Myrna Loy, Primo Carnera, Jack Dempsey, Walter Huston, and Otto Kruger comprise the distinguished group of actors and sporting personalities gathered together for the

thrilling drama, "Every Woman's Man," which is now being shown at the Grand Theatre. Writing of this splendid show, critic said: "Even the final quarter of 'Every Woman's Man' would be sufficient to fill any theatre for many days, for it is practically a boxing match for the world's heavy-weight title between the two men, Baer and Camera, v/ho actually did contest the title at New York. This film does not depend entirely on its sporting interest, but it is in effect one of the greatest sporting stories that has yet bean transferred to the screen." The supports include Chapter 10 of the exciting serial, "Gordon of Ghost City," and a Laurel and Hardy comedy. Box plans are now ooen at the D.I.C.

CRYSTAL PALACE }

"THE CASE OF THE HOWLING DOG" "The Case of the Howling Dog'' is a very exciting murder mystery, and because it is not treated too seriously throughout it makes a thoroughly entertaining picture. To create an atmosphere of mystery is something that the screen can do most effectively, and when such an atmosphere is the setting for the breath-taking and heartily dramatic methods of a "homicide squad" of American police, pitted against the suave ingenuity of a brilliant lawyer, there is certainly nothing dull about the result. Warren William has been doing better and better work ever since his success in the "Match King." and there are times in this picture when, as the successful lawyer, he offers serious challenge to John Barrymore. Helen Trenholme, a newcomer to the screen, takes the part of the lawyer's secretary, most successfully, and Mary Astor, as the suspected woman, is also very good.

As a police sergeant, Alan Jenkins is as tough and as amusing as could be wished; indeed all the minor characters, even to the taxi-driver, are acted very skilfully. \ "LONDON SPEAKS" There has been for some time an express desire for an extensive production based on the structure and life of London, and the film "London Speaks," which will be shown at the Crystal Palace Theatre on Saturday, has met this desire in a remarkable fashion. Produced by the Greater Australasian Films, Ltd., the picture is the story of an Australian in the metropolis. It has been described as "sometimes glorious, sometimes tragic, sometimes cruel, but always fascinating. Enclosed in the boundaries of London

proper is to be found more real romance, history, and adventure than in all of the other cities of the world put together, and all this and more has been captured by the first feature length film ever produced in London by Australian enterprise and capital. The spectators visits the Olde Cheshire Cheese in Fleet street, the famous old inn which was the rendezvous of so many of England's famous literary men. In comparison with this relic of other days are the great modern newspaper offices with which Fleet street abounds. Likewise the Houses of Parliament, Westminster Abbey, the Tower, Rotten Row, all world-famous landmarks—in fact, everything of interest to persons visiting London for the first time—or renewing old acquaintanceship—is contained in "London Speaks," which is probably the most intensely interesting film of the year. The camera takes the audience through beautiful modern streets. and through old thoroughfares—the Poultry, Milk street, Bread street. The Lord Mayor is seen riding in his coach, the Horse Guards being changed at Whitehall. A famous figure of Petticoat lane is seen taking £4OO on a Sunday morning, and Park lane opulence is contrasted with the slums which still exist. The film has been exceptionally well constructed, so that the camera returns again and again to

the river Thames, which forms the centre of the picture, as it does of the city. Madame Tussaud's, Kew Gardens, Hampton Court, and Bushy Park, these and a hundred other well-known places are shown. The narrative is simple and straightforward, and the photography excellent. CIVIC "ARE YOU A MASON?" Thirty-three years ago crowds of theatregoers arrived home from the theatre chortling and chuckling to themselves with glee, after they had been to see the new farce, "Are You a Mason?" This week, at the Civic All-British Theatre, crowded houses are now revelling in the film version of the same comedy. Without fear of contradiction, "Are You a Mason?" can be classed as the funniest comedy ever presented on the screen, and after seeing it one can readily understand the reason why it remains so vividly in the minds of all theatregoers. The leading pair of funmakers are the popular comedians, Sonnie Hale and Robertson Hare, and they are supported by a strong cast of players, including Dave Burnaby, Lewis Shaw, and Gwenyth Lloyd. Briefly, the story centres round the desire of a young wife that her husband should become a member of a Masonic lodge. This whim is sponsored by her mother, whose iron hand has ruled the husband since a disastrous indiscretion in his earlier days. It is impossible to write of all the situations that occur in this hilarious fa-ce, but the happy team of stars fulfil their roles to perfection. The first half of an enjoyable programme is taken t».p by a splendid mystery drama, "Passing Shadows." featuring the fine character actor Edmund Gwenn.

Plans are now open at the theatre from 10 a.m. daily. THEATRE ROYAL "CATHERINE THE GREAT" AND "MOULIN ROUGE" Playgoers to the Theatre Royal this week are assured of really excellent entertainment in the two very fine productions. "Catherine the Great" and the piquant musical comedy "Moulin Rouge."

"Catherine the Great" is notable for the skill and polished acting of its principals. Flora Robson, as the Empress Elizabeth, is magnificent, portraying this eccentric figure of Russian history with real merit. As the mad and suspicious Grand Duke Peter, Douglas Fairbanks, jun„ provides probably the most finished performance of his career, and in this he is ably assisted by Elizabeth Bergner. Charm, grace of movement, and a wonderful gift of expression are the qualities which appeal most in this German star and mark her as a great actress. Sir Gerald du Maurier, as Le Cocq, gives his usual polished display. "Moulin Rouge" is a comedy and a farce combined. The comedy is sparkling and the farce delightfully piquant. Franchot Tone, one of the younger stars, scores an immediate success playing opposite Constance Ben-

nett, who is inimitable in productions of this kind. She plays a dual role and by skilful handling avoids the pitfalls with which such a role is often beset. At one time she is the temperamental French musical comedy star, and at another the ambitious American girl seeking fame in American musical comedy. LIBERTY "SMARTY" AND "YOU BELONG TO ME" Two delightful pictures—"Smarty" and "You Belong To Me"—comprise the new double-feature programme at the Liberty Theatre, which was

shown for the first time to large audi- j ences on Saturday. "Smarty" is a : bright comedy, and its story, of one of the strangest and most hilarious matrimonial tangles imaginable, is a very n6vel one. Chief j honours must go to Joan Blondell. \ She is ably supported by Warren Wil- , liams and Edward Everett Horton. j A touching story of the pathos and human drama that go on behind the curtains of the vaudeville stage and in the private lives of the vaude-

ville folk is contained in "You Belong To Me," which also marks the debut of David Holt, a six-year-old actor who bids fair to rival Shirley Temple. Others who give good performances are Lee Tracy, Helen Mack, and Helen Morgan.