STATE THEATRE

Dominion, Volume 28, Issue 104, 26 January 1935, Page 4

STATE THEATRE

“My Old Dutch” Based on the famous song which was made world-reuowned by the late Albert Chevalier, “My Old Dutch,” the Gains-borough-British film that opened yesterday at the State Theatre, is a true to life coster story and is a really welcome change from the many glittering and sophisticated stories that have been presented of late. There must be many people who can remember having heard the late Albert Chevalier sing, his Coster songs and there must be many in Wellington who can remember the silent version of “My Old Dutch" which was screened at the old Empress Theatre here about 1915, the star being none other than Albert Chevalier, with Florence Turner as his “old dutch.” Good as that film was, it cannot be compared with the new talking version, for in the new one the audience is able to hear the characters speak in the Coster dialect. “My Old Dutch” is a veritable ctavalcade of work-ing-class London life, covering a period of 40 years to the present day and rich in the humour, pathos, drama and sentiment of “Cockaigne”—that happily nicknamed realm in the vastness of London, whose people have no psychological connterpart in any other community in the world. The picture is remarkably wenpresented, and the general atmosphere is so realistic that the audience follows the ' action as ■if they were actually on the spot. Director Sinclair Hill has gathered together a cast that will long be remembered for the sterling work of each of its members, and has given a novel touch to the picture by the clever introduction of several shots of the original silent film. The leading parts are taken by the vivacious Betty Balfour, who is seen in the title role, Michael Hogan, who enacts the part of the coster husband, and by Gordon Harker, who gives yet another of his inimitable character sketches, as the family’s best friend. Frank Pettmgell and that noted music-hall artiste, Florae Forde, make all too brief appearances as typiehl costers. The picture also introduces vivid scenes of London life duroi© the world war, and during . the great transport strike. If there is any fau.t to be found with “My Old Dutch it is the fact that there are not enough scenes of true coster life with “fevvers and pearl buttons. Certainly no fault could be found with the acting, which is of the highest standard from start, to finish. Another feature of the film is the introduction, by means of an orchestra that never intrudes upon the dialogue, o many of Albert Chevaliers well-known coster songs. “My Old Dutch is preceded by an interesting supporting programme, whidi includes two news reel showing events in England and in Australia. PLAZA THEATRE “The Gay Divorcee” Divorce in the gay atmosphere of a lavish musical extravaganza forms a colourful background for “The Gay Divorcee,” which began the second week of its season at the Plaza Theatre last ni-ht. The producers have not concerned'themselves greatly with giving the picture a Story, but far from detracting from the film this adds to its piquancy. Bather have the producers depended on what might be called the incidental side of the film—the dancing, the music, and the general backgrounds—and they have laid emphasis on the witty dialogue with which the production is unstintmgiy punctuated. The picture lias an exceptionally strong cast, the leading roles being entrusted to such well-known comedy actors as Fred Astaire and Edward Everett Horton, who show what they really can do, given the opportunity. Nothing more lovely on the feminine side can be imagined than the captivating Ginger Rogers, who fits into her part as if it had been written around her. blie is-ably supported by the flirtatious Alice Brady, whose unstable memory makes a receptive foil for Edward Horton’s flashin"- wit. Add to these the melodramatic Erik. Rhodes as Tonetti, the hired corespondent, and Eric Blore as the garrulous waiter, and the cast is complete. Fred Astaire is the high-light of the picture. He can act, and, above all,-he knows how to dance. Amid the inviting music his agile feet slip naturally Jl Jt° titilating tap-dances which gradually merge into acrobatic feats. But his brightest performance is in his complicated yet graceful dances with Ginger Rogers. As an exuberant young man deeply in love, he puts over his dialogue with carefree abandon. Spectacular dancing scenes are introduced during the picture, and these have been handled with all the American flair for the unusual combined with the graceful. The picture is brimful of tuneful melodies, most popular among which is the now famous song, “Night and Day,” which is sung . and danced by Fred Astaire and. Ginger Rogers. Altogether, it is a musical comedy which carries with it an air of freshness and vitality. Coining Attraction. Coming to the Plaza Theatre shortly is another Ben Travers farce, with Ralph Lynn and Tom Walls. ST. JAMES THEATRE “Now and Forever” “Now and Forever,” the Paramount picture screened at St. James Theatre Ipst evening, is a striking vehicle for the exploitation of the abounding charm and talent of that fascinating child actress, Shirley Temple, now one of Hollywood’s best offerings. Shirley is Penelope Day, the daughter’ of Jerry Day, who caunot go straight, even though he is loved sincerely by beautiful Toni Carstairs (who has taken the place of Penelope’s dead mother). Jerry swindles anybody and everybody, and even pinches a valuable necklace from a wealthy old lady,, who desires to adopt Penelope. This incident, set in the Riviera, gives Shirley Temple a great opportunity to show her vitality in emotional scenes. Felix Evans is admirably played by Sir Guy Standing, but it is somewhat hard to accept Gary Cooper (a traditional hero in screen stories) as the waster, Jerry. Still, the acting and the settings are up to the highest standards. Other pictures in the programme are the quaint “Madhouse Movies,” the “New Deal Rhythm” (featuring Buddy Rogers), a marvellous exhibition of fancy diving by Pete Desjardins, and "Ax Me Another,’ a comical cartoon. GRAND OPERA HOUSE Frank Neil’s New Revue Commencing to-day at the matinee at the Grand Opera House, J. C. Williamson will present Frank Neil’s second production of the season under the title ot “On With the Show.” This select -company of international artists has made a big hit with the Wellington public, and in this new revue the various members of the company have ample scope to show their outstanding ability. Everything is entirely different from the first production. and Nice, Florio and Lubow, Alec Halls, the silent humorist, Les Diamondos, glittering adagio experts, the Three Ambassadors, Hope and Ray, popular patter artiste, all have entirely new acts to submit. Joey Porter, the little English comedian, has a splendid selection of new comedy sketches. There are also some exceptionally colourful and tuneful song scenas. such as “The Easter Parade,” and “For Love of You,” in -which the singing and ballet -work are outstanding.