CITY THEATRES

Press, Volume LXXI, Issue 21418, 9 March 1935, Page 10

CITY THEATRES

PLAZA "MADAME DU BARRY" "Madame Du Barry," a masterly screen production, depicting the intimate life and loves of the famous beauty who ruled the court of King Louis XV., with Dolores Del Rio giving a suberb performance in the title role, will commence at the Plaza Theatre to-day. No pains have been spared in producing the picture, which is lavishly costumed, capably acted, and directed with real feeling and historical accuracy. Although the intrigues of the court, as in any story of Du Barry, will be apparent, the author of the current screen play has concerned himself more with lighter side of the life of the kings favourite. Some of the reproductions are marvellous in their lavishness—the court, the palace at Versailles, and the famous Colonade Gardens, where the grand ladies and resplendent courtiers disported themselves in gaiety and luxury, while the peopie starved. Nor is the picture without its dramatic moments when Du Barry fights intrigue with intrigue, and usuallv outwits her enemies. Yet even in these more intense sequences, the irrepressible Du Barry usually aaes to end them with a laugh—at the expense of the enemy. There is also a gorgeous and novel staged by the famous Albertina Rasch dancers. "Madame Du Barry" has an unusually large cast of talented players in the principal roles and hundreds of others in minor parts. Dolores del Rio, who plays the of Madame du Barry, could hardly be bettered in type, and in ability for her role. She enacts the merry sweetheart of Louis XV. in a way that is as dramatic as it is intriguing. She is shown to her best advantage m the scene where she storms the couit of her royal lover to avert a war with England and the downfall of a prime minister. Gay, scheming, and tempestuous, the real Madame du Barry had an exciting time during her unofficial reign of the French court, and her adventures have been carefully and auihentically adapted for the screen by Edward Chodorov. Reginald Owen appears as Louis XV. for the second time, having taken the part of that erratic monarch with George Arliss in "Voltaire." Victor Jory, Vernee Teasdale, Osgood Perkins, Ferdinand Gottschalk, Dorothy Tree, Anita Louise, and Maynard Holmes are also in the cast.' REGENT "CLEOPATRA" History contains no more famous romance than that which linked Cleopatra, Queen of the Egyptians, with Marc Antony and Julius Caesar, two of the greatest figures of the Roman Empire. Nor would it be easy to find a more romantic background than was provided in the century before Christ —the century in which Caesar added Gaul and Britain to the Roman domains and in which he sought also to bring the fabulously rich Egyptian empire under his sway. Such is the material upon which historians, novelists, poets and playwrights have written almost without end, and such also is the course of a triumph for the screen under the guiding hand of Cecil B. de Mille, whose lavishlyproduced historical dramas hava made his name famous. "Cleopatra," with Claudette Colbert in the title role. Warren William as Julius Caesar and Henry Wilcoxon as Marc Antony, will begin at the Regent Theatre to-day. From the rivalry between Cleopatra and her brother Ptolemy for the throne of Egypt, and Caesar's intervention on the Queen's behalf, the story moves to Caesar's return to Rome and his death at the base of Pompey's statue at the hands of Cassius and Brutus. With the splendour and magnitude of its scenes, involving thousands of "extras" and "properties" on a grand scale, and the tenseness of the passages between the leading characters, the picture grips its audience from start to finish. Superb acting ensures the full benefit being derived from the producer's conceptions. "Cleopatra" is described by critics abroad as at least equal in splendour to such as pictures as "The Ten Commandments," "The King of Kings," and "The Sign of the Cross." No fewer than 8000 players were engaged in its production. Nothing is too big for Cecil B. de Mille to attempt, and in "Cleopatra" he has gone the limit in his endeavour to produce something of towering magnificence. Box plans are now open at the D.I.C. MAJESTIC "THE CAPTAIN HATES THE SEA" Intrigue, romance and tragedy are all features of "The Captain Hates the Sea," the brilliant picture which will commence at the Majestic Theatre today. Some of Hollywood's best-known actresses and actors are seen in the major roles, and the production is as thrilling as it is humorous. All the scenes are enacted on an ocean liner, and the happy-go-lucky manner in which the passengers enjoy themselves is an entertainment in itself. The story opens with the steamer setting sail on a pleasure cruise. Victor McLaglen is waiting patiently for the appearance of an international crook, Fred Keating, who fails to arrive up to time, and is brought aboard in the pilot's boat. Keating is thought to be in possession of a parcel of negotiable bonds and McLaglen has been retained by the owners to procure their return. In doing so he meets Helen Vinson, a demure-looking soul, who really is the partner of the crook. While the case is being unravelled a half-dozen tensely human dramas of life are being unfolded. There is the story of i the Jeddocks, the wife a lady with a shady past, and the husband now a respectable business man, haunted by I the memory of the way in which he | used his wife's shame to start him on the road to success. Then again is the story of General Salazaro, who was I once in charge of an unsuccessful revolution, and is returning to face the firing squad. The captain himself really hates the life he is forced to follow, and only carries on because he is forced to earn his living in this manner. Through all of these sub-plots comedy, drama, and tragedy are depicted in a succession of incidents and situations that are at the least delightful. Victor McLaglen, John Gilbert, Fred Keating, Helen Vinson, Alison Skipworth, and Wynne Gibson have a great deal to do with the success of the film, and their work is in keeping with their usual high standard. Box plans are now open at the D.I.C.

MAYFAIR "THE GAY DIVORCEE" I In the extravagance of its settings, the catchiness of its songs and the unique dancing of the stars, Ginger Rogers and Fred. Astaire, the RKORadio comedy, "The Gay Divorcee,'" which is now in its second *eek at 1 the Mayfair Theatre, is a challenge 1 to the popularity record set by "Flying Down to Rio," the last production in which Astaire and Ginger Rogers were co-starred. Astaire once more brings the refreshing note of novelty and originality to the production, and his boundless energy and bright personality, coupled with a fine sense of the lightly humorous, should combine to make him a film favourite with ail screen audiences. Ginger Rogers is, as usual, vivacious and charming, and an admirable partner for the versatile Englishman. In "The Gay Divorcee/' they introduce a new dance, called "The Continental." Others in the cast include Erik Rhodes and Eric Blore, who repeat the roles they enacted in the stage success from which the film was adapted. The film's musical numoers are credited to five noted composers—Cole Porter, who wrote the j music and lyrics for the play; Mack Gordon, Harry Revel, Con Conrad, and Herb Magidson. The supporting programme is of a standard which promises well for the success of the Mayfair Theatre. "ONE NIGHT OF LOVE" The unusual combination of a beautiful soprano voice, an attractive appearance, and an engaging personality is possessed by Grace Moore, | the Metropolitan Opera House singer, who has her third part on the screen in the glorious musical romance, "One j Night oi Love," which will have its j Christchurch premiere at the Mayfair Theatre on Friday, March 15. Her first appearance was in a charming film entitled "A Lady's Morals." in which she impersonated the famous singer, Jenny Lind, and her second film was the light opera, "New Moon." In her latest production, Miss Moore displays frequent flashes of piquant humour, and these are in keeping with the general whimsical tone whi<;h develops under the deft direction 6f the popular song writer, Victor Scherzinger. Another feature which will gladden the hearts of all music-lovers are the excerpts from such wellknown operas as "Carmen" and "Madame Butterfly." Other members ! of a talented cast are Mona Earrie, the promising Australian actress, Tullio Carminati, and Lyle Talbot. Box plans are now open at the D.I.C. | TIVOLI ".MAN OF ARAN" AND "THE BATTLE" . Two outstanding productions—"Man of Aran" and "The Battle"—will comprise the noteworthy programme at the Tivoli Theatre to-day. Superb photography and a story that is unusual both in conception and development are features of "Man of Aran." Stark drama, the relentless, pitiless, surging sea, the enemy of man, beautiful and awe-inspiring as seen on the screen, but a terrible enemy to those who live their frugal lives on the bare Aran Islands, off the coast of Ireland—against this background is the story of a woman, gentle and brave, who has to watch and wait for the return of her loved ones, wondering whether the angry sea will be kind enough to return them safely to shore. In contrast are the thrills of an all-night fight with a basking shark in a curragh, a liny boat of cowhide stretched upon wooden ribs. The film is no studio-produced drama. There is no amazing faking. It is life as it is lived on the Aran Islands. The actors are the residents; their _ parts, only the routine of their daily life, and out of this Robert Flaherty has produced a masterpiece of sufficient quality to gain the Mussolini Cup for allround brilliance. "The Battle" is a drama altogether out of the ordinary, and is taken from the famous novel and stage play of the same name by Claude Farriere. The chief players are Merle Oberon, Charles Boyer, and John Loder. Merle Oberon, the beautiful Tasmanian star, will be remembered for her brilliant work as Anne Boleyn in "The Private Life of Henry VIII." Charles Boyer is a well-known European actor who played in the original French stage version of "The Battle." Overseas critics without exception praise this film as being not only one of the most poignantly touching stories that has ever been screened, but also one which for spectacular grandeur is unsurpassed. Box plans are now open at the D.I.C. CIVIC "ARE YOU A MASON?" To-day, at the Civic All-British Theatre, the British comedy success, "Are You a Mason?" will enter its third week, an honour that comes only to productions of outstanding merit. The tremendous popularity of this film during the last two weeks can be easily understood, as it is undoubtedly one of the funnest and most entertaining comedies ever screened. From all angles it is a triumph for both the British Studios and the splendid cast of players in it. Sonnie Hale and Robertson Hare are the leading funmakers, and are well supported by Dave Burnaby, Lewis Shaw, Gwyneth Lloyd, and several others, all of whom are seen in roles that suit them to perfection. For those who know the story, additional zest is given to the piquant situations by the screen adaptation, whilst for those who have no knowledge of the plot, it is refreshingly novel. It is impossible to write of all the hilarious situations that occur, but it is safe to say that any audience, whether young or old, will be kept in fits of laughter. The first part of the programme is taken up by an excellent mystery : drama in which Edmund Gwenn is the star. An indication of the merit of this film may be gauged by the fact that at each performance it has received spontaneonus applause. Box plans for the third and final week are now open at the theatre. GRAND ! "SHE LOVES ME NOT" No story of a college scrape has come nearer to the classic, "Charlie's Aunt" than "She Loves Me Not," starring Miriam Hopkins and Bing Crosby, which will begin a return season at the Grand Theatre to-day. The complications that ensue when two students at Princeton University hide a cabaret dancer in their rooms to save her from the police form the plot, which has not a dull moment in it. Three songs which Bing Crosby sings are "Love in Bloom," "Straight From the Shoulder, Right From the ■ Heart," and "I'm Hummin', I'm Singin'. I'm Whistlin'," all of which are brought naturally into the story' without interrupting its continuity. Bing Crosby has the role of Paul Lawton,' a student whose hobby is musical composition. The supports will include ] chapter 12 of the serial, "Gordon of | Ghost City," starring Buck Jones. Box plans are now open at the D.I.C, I

CRYSTAL PALACE i "LONDON SPEAKS" The London in "London Speaks," the film which will enter its second week at the Crystal Palace Theatre to-day is the real London, the great metropolis throbbing with life and bright with a million lights. Greater Australasian Films have offered it on the screen, not as the setting for an entertainment, but as an entertainment itself; and it is almost certain to be popular. For London is always before us—in history, in literature, in the news of the day and New Zealanders attach a certain sentiment to it. While it is a traveller's story, "London Speaks" is not a travelogue, it takes the audience into London, unfolds all the scenes of romantic interest—the Tower, St. Paul's, Madame Tussaud's, Rotten Row, the Old Curiosity" Shop—and leads on into exciting discoveries and adventures. Indeed, everything that one has imagined one would do and see if a trip to London became a possibility is in the film. The adventure starts with the arrival of the ship in the famous docks, giving an opportunity of studying from the deck of the ship the perspective of London. Then it passes into the heart of the city and the audience realises the humour that London contains and sits back and laughs heartily at one of Britain's best salesmen in Petticoat Lane as he tries to sell a most intimate portion of ladies" apparel. Many famous people, from the King downwards, appear in "London Speaks." London's life, historic interest, and fascination, all are cleverly blended. In addition, Mr Dave MeGHI appearon the stage and sings a bracket of songs of old London. "GRANDAD Rl DD" The hilarious family of "On Our Selection" has been brought to life in yet another Australian film based on the, popular Steele Rudd stories. The new production, entitled "Grandad Rudd," will commence a season at the Crystal Palace Theatre next Saturday. "Grandad Rudd," played by Bert Bailey, is still the same cantankerous, humorous old man, and still barks at the "boys," Dave, Dan, Joe, and the rest, as he orders them about the farm. But "Grandad Rudd" has a big worry on his mind. Betty (played by the charming New Zealand girl, Elaine Ham ill), his lovely granddaughter, is in love with Henry Cook, a young agent of a rather shady character. While not hesitating to take advantage of Henry's love for Betty by getting a good price for his hay, "Grandad" puts his head together with Tom Dally, a young selector (played by another New Zealandcr), who is also in love with Betty. Fate a hand 111 their game, and sends to the village a person who can give them the needed information about Henry. This is Shirley Sanderson, a theatrical player, whose show is playing in the town. In the meantime Dan has been making love to the simple Amelia. In this Dave sees an opportunity to get rid of Dan, and so stages a party to "celebrate" the engagement while "Grandad" is away. Into the scene of the secret, of boisterous merriment walks "Grandad," breaking up the party. Tb'j and many other hilarious scenes contribute to the enjoyment of the picture. | LIBERTY FINIS l)Ol BLIS- FEATIKE PROGRAMME W. C. Fields and Baby Leßoy are the principal players in "The Oldfashioned Way," the bright burlesque which will head the new double feature programme at the Liberty Theatre to-day. The drama, "Four Frightened People," starring Herbert Marshall and Claudette Colbert, will be screened in support. That inimitable comedian, W. C. Fields, is at his best in "The Old-Fashioned Way," an exceedingly clever farce. He is immense as "the Great McGonigie," head of an impoverished troupe of barnstormers, who move from village to village with irate sheriffs at their heels for unpaid bills. O*>i-fashioned melodrama, slapstick, and ribald comedy are features of the piece. Jan Duggan gives dn outstanding impersonation as a wealthy widow, who is stage-struck, and Baby Leßoy makes a fascinating infant terrible. Fields is an entertainment in himself as the old impostor, who ends up in his rightful role—selling quack patent medicines in the open air. Noted for providing the ultimate in screen spectacle, Cecil B. de Mille scores another success with "Four Frightened People." Story, acting, settings, and direction were said by one oversea reviewer to hold the audience "spellbound with one eyefilling surprise after another." From thv time the four principals, two men and two women, escape from a Dutch steamer on which bubonic plague has broken out and start their journey to civilisation through the Malay jungles, there is not a moment in the picture when the interest of the spectators wanes. Claudette Colbert has one of the most colourful roles of her career, that of a prudish school teacher whom the two men consider in .their way. When the jungle causes her to blossom into a wild, beautiful creature, the men start fighting over her. Herbert Marshall and William Gargan are well cast as the marooned rubber chemist and newspaper correspondent who fight over Claudettc's charms, while Mary Boland, in another deft comedy characterisation, is also to the fore. Box plans are now open at the D.I.C.