THREE NEW FILMS IN CITY

Dominion, Volume 35, Issue 284, 29 August 1942, Page 10

THREE NEW FILMS IN CITY

“Chocolate Soldier” And “Texas” Open New programmes and extended seasons divide the city's cinemas between them this week. Tile Majestic saw the debut yesterday of a new star. Rise Stevens, who, with Nelson Eddy, brings "The Chocolate Soldier back into circulation. The King's is screening “Texas” and the De Luxe has Born to Sing,” a carnival of youthful talent. - On the other side “Ride ’Em Cowboy" continues at St. James, and No Greater Sin” runs on at the Plaza. “Tarzan’s Secret Treasure has been transferred to the Paramount and “To Be or Not to Be” to the Tndor NorthWest Passage” is at the Opera House and “Mexican Spitfire at Sea at the State.

MAJESTIC THEATRE George Bernard Shaw wrote a play called. Arms and the Man.” Oscar Strauss set it to music and called it "The Chocolate Soldier.” Metro-Goldwyn-Mayer took “The Chocolate Soldier,” abandoned the Shaw story, added Ferenc Molnar s theme of "The Guardsman,’ 'added music from “Tannhauser,” “Samson and Delilah, anu several lesser pieces, gave the leads to Nelson Eddy and Rise Stevens, and called it—“ The Chocolate Soldier”! Which sounds typically Hollywood. Maybe it is, but with these notable differCll The’ old “Chocolate Soldier” is so dated that it would look laughable on the moder Ne S lson on Eddy, singing better than ever, has at last been freed from His usual saccharine parts, and is allowed to clown and become a figure of fun. , The storv, adapted from Molnar s brilliant- “The’ Guardsman,” is 100 per cent, more subtle and satirical than the average musical comedy story.* Rise Stevens, a newcomer, is not overbeautiful, has a magnificent voice and an Interesting, enigmatical face. Any one of these, quite apart from the drawing power, of the famous title, was good reason for the almost full house at the Majestic Theatre last night. f goers with noses for good films will remember that clever, clever film. The Guardsman,” with Alfred Lunt and Lynn Fontanne, which drew disappointing houses in Wellington seven or eight years

ago It was the story of the jealous actor husband who posed as another man, seduced his own wife, and then discovered that she knew who it was all the time. The last lines in the new musical version have been attuned to the sensitive constitution of Will Hays and his office. “The Chocolate Soldier" is well cast, full of rich musical numbers, beautifully mounted, and with a story, as has already been said, which would stand the test without music or big names.

PARAMOUNT THEATRE , In yesterday morning’s paper a series of cunning little drawings in the Paramount Theatre’s advertisement gave a hint of the thrills of “Tarzan’s Secret Treasure.” “Underwater Fight For Life drew attention to Tarzan battling with an enormous octopus. “lacing Goldhunters’ Guns” shows our hero facing two nasty-looking specimens, his only weapon a knife! “Saved from ■Sacrifice” is a grisly thumbnail sketch of Mrs. Tarzan tied to a tree and about to be burned (or speared) by a horde of natives.These would be quite sufficient to convey the general trend of the Tarzan series to’ those film-goers who are not dear about thse films—and they must amount to a tiny fraction of the population. “Tarzan’s Secret Treasure” is probably tire most exciting of them all. This time the happy Tarzan family—he Is comparatively civilized now: brushes his hair, speaks tolerable English, and, like the Nordic man, is kind to children—finds its African sanctuary invaded by-..unscrupulous white men in search of treasure. The natives are stirred into rebellion, and even the animals go berserk, and soon there is the devil to pay all over the place. Tarzan, whose heart, naturally, is still in the right place, is wrongly regarded as African Enemv Number One, and he has to fight for his life, and for those of his wife and child, too! Yos, it is quite the most exciting of the Tarzan series. The cinema has given us kings on Broadway, queens of the Yukon, princes mixed up with paupers, but this is the first occasion that the screen has presented dukes In the navy. The second film, “The Duke of the Navy,” sails very near to the censor’s scissors, just as the ship it portrays sails near to danger—mostly of the blonde kind. The sailor-stars do several crashdives—and all because of the same bion e “destroyers.” However, there is plenty of fun, some wisecracks worth remembering, end an introduction to some new stars. Ralph Bird and Veda Ann Borg among them. Visiting servicemen will enjoy this bit of frivolity.

PLAZA THEATRE In every soldier's paybook there Is a para, graph at which the new recrnlt, fresh from a sheltered home and a picked circle of friends, is apt to ©mile: “Keep yourself fit, avoid excesses of stimulants, and, above all, remember the very serious dangers of illicit sexual intercourse, against which you are specially warned in the interest of your future health and happiness." But once in the army—and specially overseas, he realizes that the person who framed those regulations was nobody’s fool. Today the most serious problem facing health authorities is the increasing incidence of venereal disease. In the army contraction of the disease is' a crime for which theisoldler forfeits pay and privileges. There is no smug ‘‘dirt’* behind "No Greater Sin,” which is having a deservedly successful run at the Plaza. .The picture is not to, be classed with snooping on couples in darkened doorways or watching with prurient pleasure the "scandalous" behaviour of soldiers and their girl friends in night clubs. “No Greater Sin" has been made with one purpose in mind: to show the fighters and war-workers of the United Mations that ignorance and licentiousness can slow down a coufitry’s war effort more easily than bombs dropped from above. There is a story well told, a story that might easily have come from any Wellington suburb. It has drama, naturally, but it has no melodrama. It gives its mes. eage in a clean and forthright manner. If we are interested in our country and Its future, our children and their futures, there Is a message in “No Greater Sin" and all the more compelling and important in this time of war. ST. JAMES THEATRE “I never forget a face," Groucho Marx ■:once said, “but I’ll make an exception of I yours.” i Similarly, this critic seldom goes deeply Into the plot of a film, but he’ll make an exception of "Ride ’em Cowboy." which runs into a second week at St. James. The reason? Because it can be told in a few words. Abbott and Costello are selling peanuts at a New York horse show when, by a series of such coincidences as only happen in the films, they find themselves on" a dude ranch, surrounded by Indians who, being nicely trained in the art of publicity, have put on all their war paint to amuse the customers. The Indiana chase the comedians, the comedians fall in and out of bathing pools. Indulge in hectic car rides, get mixed up with grizzly bears, blondes and savage steers. But everything “turns out all right in the finish." There was no reason why it shouldn't—the whole show was only made for fun. anyway. And good fun it is, every foot of it. “Ride ’em Cowboy” might as easily have been called “Do-wacky-do." It is an excellent excuse to show off the priceless fooling of Abbott and Costello, the finitegood singing of Dick Foran, the shapely limbs and wide-eyed beauty of Anne Gwynne, and the effortless artistry of Ella Fitzgerald, -the coloured star who sings “A-Tisket, A-Tasket” as it has never been sung ■before. In other words, it is a top-line vaudeville show which had to be given a name. And “Ride ’em Cowboy” is as good as any other. “America’s New Army" is a splendid March of Time on the programme. It shows how the United 'States, like New Zealand, started from less than scratch, and is now building a formidable fighting machine. "There is also one of those extraordinary “Superman” cartoons —it wouldn’t be surprising if they develop into a craze. '- TUDOR THEATRE A somewhat outraged English critic said of “To Be or Not to Be,” which is now at the Tudor: “While Hollywood might think it funny to make a comedy out of the fall of Warsaw, we wonder how a hilarious film on Pearl Harbour would be receiv-

ed.” A somewhat unkind and unnecessary criticism, for the film, perhaps a comedy, is also one of the most ironic and dramatic satires the screen has given us. It has taken the ingenious Sir Alexander Korda the was knighted in England recently), brilliant Ernst Lubitueh, ami clever Carole Lombard and Jack Benny to make a film on such an un-funny subject as Warsaw. There is a great deal of hootin' and tootin’ done by Carole Lombard in this, her last, and possibly her best film. She is an actress in pre-Nazi Warsaw. Iler name is second on the programme. Her husband’s appears at the top, not because he is the greater star but because he is so temperamental that he might conceivably bite the fat lady in the stalls if he is not given his own way. Also on the programme is Go west, i Young Lady,” starring Penny Singleton Glen Ford

KING’S THEATRE

“A thundering epic of heroic adventure ablaze with the thrills, colour and terror of a land that knew no law, uo fear . . . roaring with the vivid unconquerable char, actera who blasted a mighty prairie empire out of bullet scattered frontiers . . big as the mighty state it glorifies . . . ns fhn flicrht of » biasing bullet . . . thriii lug as a tight with bloodthirsty bandits . the stirring saga of the old south-west written in the dramatic lives of a few strong men and a lovely girl who beat back the tide of banditry that threatened their new-born ■ land.” . Ag those are the terms in which tne advertisements for “Texas," the new’film at the King’s, are couched, there seem B little mor e that this reviewer can add, with the exception, perhaps, that it good, meaty entertainment, and a change from musicals, sex dramas, slapstick comedy and love songs. There seems to be a vogue for films bearing the name of one of the American States—we have had “Virginia.” “.Maryland.” "Wyoming”, an “Arizona, 1 ’ and now we have Texas. All of them have been brimful of adventure with "goodies” and “baddies going their respective ways, with many a clash at tne crossroads and a leavening of romance and bright comedy thrown in for good measure. “Texas,” with William Holden, Glen Ford and George Bancroft in the leads, and Claire Trevor making brief and frequently tempestuous appearances, deals with the early days of that famous state and tells of the manner in which the cattle rustlers became the scourge of the land andsof how one particular band was defeated. , , It rolls merrily on through 8000 feet of fights romance, glimpses of really lovely country, and fights and numerous killings. In fact, at one period of the picture It looks as If it will have to end for lack of leading characters to carry it on. DE LUXE THEATRE Visiting servicemen are amazed at the words used by children in New Zealand. Said one of them:,“A kid of five makes me feel as though I’ve never been to school.” New Zealanders, on the other hand, are awed at the precocious talents of American youngsters that they meet via the cinema. “Born to Sing, the film which heads the De Luxe’s bill this week, Is a case in point. Sarah Bernhardt would probably have blinked at Judy Garland’s first-rate impersonation of her in “Babes on Broadway ” Everyone from Harpo Marx to John Gielgud is likely to blink at the flood of talent unleashed in “Born to Sing. There is some sort of plot, but it Is not important alongside the principal object of the picture: to “try out” youthful faces and graces on the great film—going public and to watch the fans’ reactions to the Gables and Colberts and Garbos of tomorrow. Best-known name in the cast is that of Virginia Weidler, who is really the star of the show. Ever since she appeared as the thoroughly unpleasant and malicious little girl of “These Three” she has been steadily forging ahead. From her excellent showing in “The Philadelphia Story" she has now gone ahead to prove that Judy Garland has no monopoly of versatility. One moment she is dramatic, in the next she is singing, playing the piano and clowning like Little Tieh The other names are not so well known, though that of Leo Gorcey recalls the Dead End Kids (or is it the Little Tough Guys.'). A five-vear-old boy, Dickie Hall, plays the piano like a veteran. He will probably be the swing king of 1960—perish the thought! , ~ The De Luxe matinees—and the matinees only—are presenting the only full-length picture ever made by the Our Gang Kids. “General Spanky" is a comedy built on the traditional Our Gang lines, but there will be no doubt quite a few adults at the cinema in the afternoon to witness these inimitable and youthful American citizens in action. In the evening the other film is “Gentleman from Dixie, a’ sinister but exciting film starring Jack la Rue and an actress one has heard anu seen little of for years—Marian Marsh. OPERA HOUSE American directors and American stars have always seemed so much better equipped to make “great British epics’ than the English. (Sir Alexander Korda is an exception, but then he is not English by birth.) Perhaps the Inherent modesty of the Englishman—a statement open to dispute—prevents him from successfully portraying the great deeds that built an Empire. But again, in “North-West Passage, which has returned to the Opera House, Hollywood is two jumps ahead with a thrilling Technlcolour film of the forcing of the passage which opened the way to yet greater lands and greater wealth. The scenes are built on a gigantic scale, and leave no room for criticism by those busybodies whose chief delight is an evening spent at the cinema detecting anachronisms. Heading the cast and putting up his usual sterling performance is Spencer Tracy. He has done nothing better since “Captains Courageous." Robert Young, too is admirably cast, not as a young man with a penthouse and a penchant for cocktails at six, but as a rugged and inspiring actor glorying in the fact that he is playing a real part. Walter Brennan, who can always be relied upon, and Ruth Hussey comp’lete a first-rate cast.

State Theatre.—There is none of the grimmer touch of "Convoy” in “Mexican Spitfire at Sea.” In this film the sea is made to sail on, not to sink into. A honeymoon couple, always figures of fun, whether afloat or ashore, embark on a honeymoon.cruise In which the most hectic complications arise with much masquerading, much dashing in and out of the wrong cabins, and a great deal of laughable tomfoolery. "Come On, Danger,” with Tim Holt, is the associate picture. SUBURBAN THEATRES Vogue (Brooklyn).—“49th Parallel.” Laurence Olivier, Leslie Howard: “Small Town Boy,” Fay Compton, Jed Prouty. Empire (Island Bay).—“Joan of Paris”: “Skylark,” Ray Milland, Claudette Colbert. Regal (Karorl). —“Louisiana Purchase," Bob Hope, Vera Zorina; “The Invisible Woman.” Virginia Bruce, John Howard. Ascot (Newtown).—"House of Seven Gables,” George Sanders, Margaret Lindsay : “Dr. O’Dowd.” Shaun Glenville Peggy Cummins. Tivoli (Thorndon). —“Road Show.” Adolph Menjou. Carole Landis; “Moon Over Miami,” Betty Grable, Don Anieche. Kinema (Kilblrnie). — “Ice-capades." James Ellison, Dorothy Lewis; “Little Men," Kav Francis, Jack Oakle. King George (Lower Hutt).— ’Topper Returns." Joan Blondell, Roland Young. De Luxe (Lower Hutt). —"Mr. and Mrs. Smith." Grade Allen, William Post. Jun,: “Jungle. Cavalcade," Frank Buck. Capitol (Miramar). —“you'll Never Get Rich,” Fred Astaire. Rita Hayworth: “Laugh It Off':’’ Tommy Trlnder. Seaside (Lyall Bay).—"The Duke of West Point,” Joan Fontaine, Louis Hayward; “Road Agent,” Dick Foran. Les Carillo. Prince Edward (Woburn).—“Western Union,” Randolph Scott, Robert Young; “Puddln’ Head," Judy Canova.