TWO PREMIERES LAST EVENING

Dominion, Volume 37, Issue 18, 16 October 1943, Page 7

TWO PREMIERES LAST EVENING

Extended Seasons At Four City Cinemas

(By

T.L.)

Three first-releases vie with extended-season films at four other city theatres this weekend. “The First of the Few” is settled at the Plaza for what promises to be a long season, and Deanna Durbin is pleasantly at home at St. James. Van Heflin’s last film before lie put on a uniform—“ Tennessee Johnson”—opened at the Majestic last night. And “Two Yanks in Trinidad had its premiere at the State. The De Luxe is doing well with a bright musical comedy, “Salute for Three.”

“TENNESSEE JOHNSON”

■Whether or not "Tennessee Johnson," which opened at the Majestic yesterday, is going to find great favour with the Wellington public, is definitely a matter for the individual tastes of the picture-going public. It certainly ought to have a good run, for it is one of the most vividly acted shows that has graced the screen for some considerable time. Another good point in its favour is the fact that it brings homo to every person, man, woman and child, the true meaning of freedom—that great heritage that has been gained only at great cost and at the expense of many a person’s life. In these days, when the democracies are championing the cause ot freedom and are battling to make the world safe for the future, any story that, brings home the full meaning of tolerance, goodwill toward men, and complete understanding among all races, should be assured of public support. “Tennessee Johnson,’’ so far as Its story is concerned, is purely a fragment from American history. Briefly, it brings to th e screen the life of Andrew Johnson, who, having run away from his apprenticeship, seeks refuge in Tennessee, is guided by a remarkably understanding woman, whom he later marries, and who sets himself out to make every man free. He is elected to Congress, becomes Vice-President of the United States of America, and finally succeeds Abraham Lincoln as President. The title role is played by Van Heflin, a young man who is daily establishing himself more and more firmly on Hollywood’s ladder of fame. Those who saw him as tho cheekv young journalist in "Seven Sweethearts’’ will scarcely recognize the sterling dramatic actor who dominates every scene in which he appears. From youth to old age, ho never lets up for an instant and completely submerges himself in his role. Second only to Van Heflin is the evergreen Lionel Barrymore, who all but steals the show from th e star. Ruth Hussey is another who impresses with her sincere acting—she, too, treads the road from youth to age in the most convincing manner. The climax of the film, a quietlydelivered speech in defence of freedom and unity, is one of its many highlights and alone should go far toward ensuring its success. "Tennessee Johnson” may not have any. shall we say, domestic interest to New Zealand, but its message, and, oi course, its brilliant presentation, make It a first-rate show.

“THE IMMORTAL SERGEANT”

Second week). —John. Brophy wrote a book of great dignity and power, a story of ordinary men. growing to the stature of heroes under the incredible strain of modern war. Twentieth-Ceutury-Fox has brought his book to the screen. Mind you. I dou’t think that the British soldiers in "The Immortal Sergeant” (King’s), are quite like Tommies—“Desert Victory” is too fresh In my mind to allow myself to believe that —but thej do credit to a tough assignment. Thomas Mitchell (he’s had a high place on my list for years now) is the ghostly sergeant whose example pursues Corporal Henry Fonda and imbues him to rise to the challenge of leadership. There are other stars in the film, too— Field (Marshal Rommel’s tough men, our new "allies,” the Italians, pictured under different and ignominious circumstances, and Maureen O’Hara. But the film is not exclusively blood, sweat and sand. For in every soldier’s mind is a picture of home and the things he is fightipg for. This is' conveyed by a process which I usually find 'irritating—the “flash-back.”' But in "The Immortal Sergeant” it is skilfully used and gives a finite value to Fonda’s thoughts. It shows, too, why the man cannot give up the battle while It in yet to be won.

“SALUTE FOR THREE”

When I walk down the street and see a crowd of marines, jostle them ip cinema queues or restaurants, it doesn’t often occur to me that somewhere across the Pacific—in a little town In Kansas or Idaho or Texas—there’s a band polishing up its instrunientp for the moment when the local boy comes home. Macdonald Carey is a hero of the same calibre in "Salutu for Three” (De Luxe). He is home on furlough and the victim of a deep-dyed plot which is likely to put a radio singer at the top of the publicity columns. Betty Rhodes is a radio singer badly in need of publicity. Her agent, while lie mightn’t be getting her much of a break in the news, is a little tinker for bright ideas. Betty imagines herself in lovo with him. but she agrees’ to his suggestion that she pretend an interest in the soldier on leave and be photographed with him for the newspapers. This engineered romance develops into the real thing and there’s a whole witch’s cauldron of trouble before the final kiss.

"Salute for Three” lilts a high note in music: there are five songs in the film, at least two of them of Hit Parade calibre. Betty Rhodes sings "Don't Worry” and “I’ll Do It for You” and Macdonald Carey (I didn’t know he could sing) helps along with a neat march, “Left-Right.” Others in the cast are Marty May, who is almost fresh from Broadway, Cliff Edwards aud his ukulele, Lorraine and Rognan doing their eccentric dance, and Dona Drake and her ail-girl band. Edwards puts over a topical number in "My Wife’s.a W.A.A.C.” For years now Glenda Farrell and Lyle Talbot have been playing about with crime. They’ro at it again in "A Night for Crime.” second leg of, the. bill. Miss Farrell is a sleuthing newspaper woman (how they find time to combine both jobs is beyond me!), and Talbot is a studio publicity, chief who helps to, discover the murderer of an "extra” and the man who abducted the star of the show. Lina (“Bittle Yellow”) Banquette has the part of the disappearing star.

“THE AMAZING MRS. HOLLIDAY”

Third Week).—One or two people, who persist in the notion that Deanna Durbin is a singer and not an actress may complain that she doesn’t sing enough in "The Amazing Mrs. Holliday” (St. James). Perhaps there isn’t the quantity but the quality is as good as ever—no grand opera and nothing spectacular; mostly simple melodies like ‘'Mighty Lak a Rose” and "The Old Refrain,” hut she delivers them well and melodiously. Though her latest film may not be an important one nt is exceedingly pleasant. Miss Durbin is a young school teacher who salvages a collection of war orphans from unhappy Ohina and takes them to America, surviving a torpedoing on tlie way. To avoid immigration difficulties she poses as tho widow of the commodore, supposedly drownou, of the ship which was sunk. He is very much alive, of course, and fulls its readily as everyone else for the voice and virtues of the young Impostor, finally bestowing his blessing on her when sho "divorces” him to become the wife of his grandson. It's nice simple stuff of the happy-ever-after class, which is more than can be said of most stories today.

“THE GOOSE STEPS OUT”

At the genteel hotel where I live old ladles still wear black lace to dinner, they still "take a little grilled fish, thank you”; old gentlemen go wheezily beneath cold showers in the middle of winter because it’s what they did In Poona in IS9S, dammit. Into this piece of Victoriana have come a number of Americans. They arrive at dinner in their shirt sleeves, smoko cigarettes before, during' and after the meal, attack their steaks as if they, wore spearing yellow-bellies, and generally behave like—well, young. Americans. They listened to Arthur Askey on the radio tho other night, looked nt each other, and remarked. "Kindn corny, I'd say." But already they arc haring an effect on the dear old souls.’ one of whom actually tapped a 74-year-old blade with her spectacles and said covlv, “You’re not kidding?” Which brings me to Will Hay and "The Goose Steps Out” (Paramount). One of England's favourite comedians, he still has Americans licked, I like him immensely and so do most of those other people who regard roast beef as an Institution. Win UTay is nt the top of his form in this latest comedy of a teacher who tries to teach young Nazis English. Wlt'l him are those two West End comedians, Charles Hnwtrey and Frank Pettingell. But. white there are still enough Britishblooded Now Zealanders in Wellington to appreciate Will Hay there are plenty of Americans and New Zealanders alike who will laugh their heads off at the other film on the bill. “You’re Tolling I." with Judy Canova and .Too F. Brown. Their brand of comedy is international and this is one of Judy’s best. Joe E. Brown hits now hei"hts. too -there's no doubt thnt his screen popularity lias grown since t.e appeared in the flesh in Wellington some months ago. But, whether you’re Scots, English, or American, you'll find the Paramount a good all-round laugh house this week.

“TWO YANKS IN TRINIDAD”

The Yanks are getting round in pairs mow! There was only one at Eton, Oxford and in the R.A.F., but at Trinidad there are two—and what.a pair they are! Pat O’Brien, and Brian Donlevy are the scrapping stars of “Two Yanks in Trinidad (State), and they make their first appearance as New York gangsters. But like all high friends on low business they quarrel and O’Brien joins the Army. Donlevy, rightly annoyed nt this uncavalier method of settling an argument, joins the Army, top. He wants revenge. And so. up and down the Caribbean -the two stars battle it out —with each other, with the military police, with an enemy spy ring (yes, I m afraid there’s* one of those!) and with Janet Blair, who insists that she can play with the big boys, too. The little lady Is a cafe hostess, the prettiest girl in town, and her weakness is easy money—specially

from broad-chested soldiers. But the Quirt-Flagg combination runs into more trouble than a pretty girl. In Trinidad they fall foul of an espionage ring whose activities include the secret fueling of enemy submarines off the American coast, and the fifth column job of blasting the United States Navy with its own mines. But the Donlevy-O’Brien team is too much for the Nazi cut-throats and they retire in disorder. Incidentally, the teaming of the two stars is a Hollywood experiment which seems to have come off well. Pat O’Brien is no stranger to the teaming system. He turned out films for years with Jimmy Cagney, but the public wearied of them after a time. Janet Blair seems destined for the magic “Hayworth treatment.” The lovely Rita, alter push, ing an unappreciated way through many a film, suddenly shot to stardom and will stay there. Miss Blair looks as though the same may happen to her.

“THE FIRST OF THE FEW”

(Third Week).— An English critic lias expressed surprise to “find an R.A.F. Station Commander taking an hour-and-three. quarters off from the Battle of Britain to tell the Boys the life-story of the man who made the Spitfire.” The critic was C. A. Lejeune, for whom I have a profound admiration, even though her review of The First of the Few” (Plaza) is tinged with a cynicism that tho picture certainly does not warrant. She goes on: With all those enemy raiders zooming in across the Channel, with the Boys just back from one scramble and waiting the order for another. the peacetime world boardrooms, drawing-offices and even Schneider Cup races might -well seem a little dim . . ■ David Niven plays Crisp, the Station Commander. formerly tes J > P<! lo o w.>i Mitchell, the inventor of. the Spitfire. Mart and boy, it seems. Crisp had known Mitchell, and hip reminiscences embrace their joint Schneider Cup triumphs. Mitchell’s dream of a plane which sha.ll he all in one piece, like a bird, his struggles to gtf financa! backing.” . h Leslie Howard, of course, plays Mitchell. the background (by William Multon) is finely scored and this is by far and away the most distinguished film in Wellington at the moment..

“HIGH SIERRA”

(Second Week).—A tribute has long been flue to the bad men of the screen—the George Rafts, the Edward G. Kobinsonj, and the Humphrey Bogarts. Today■ _t would be hard to deny first place to Bog art—tho part of a gangster file like a glove. Lately I have seen him in three films: “Casablanca.” which- is magnificen-, “All Through the Night and Hl =’} Sierra” (Opera House). The last-named ie an orthodox gangster fnni, yet Its act ing makes it a cut above the average. Bogart and Ida Lv.pino manage to inject fresh excitement into such familiar material as a reformed gangster wh 0 tutus crooked again, a chase among the mountains and incidental gun Playv It is a great pity that the Hays Office insists that the villain must meet retribution. It would bo thoroughly satisfying to find all the cops shot up in the final scene —just- for a change. I would J at her like to have thought o£ Humphrey Bogart shooting himself through linos and lines of cope and going forward to a Slorioii* future of bigger, bonier, and badder deeds. “High Sierra” may be a somewhat form* less and long-winded script, but Bogart holds it together with a tough, convincing characterization. Aliin Curtis and Joan Leslie are in the cast, too.

“THE TALK OF THE TOWN”

Wellington picturegoers are being given another opportunity of seeing “The Talk of the Town,” with Cary Grant, Jean Arthur and Ronald Colman in the leading roles nt. the Tudor. It is a Columbia comin tho leading roles. It is a Columbia comedy. The afi-s-ociate feature is "After Midnight Wit-11 Boston Blackie,” starring Chester Morris and Ann Savage.

ALREADY REVIEWED

State (Pet one) .—“Son of Fury” will be Been at 2 p.m. and 8 -p.m. today, Tyrone Power is the star of this iilm of the adventurous Benjamin Blake, and he is supported by Geno Tierney, George Sanders, Francis Farmer and Roddy McDowail. It is a teehnicolour film; Tivoli.—The usual generous programme at the Tivoli Theatre has as its features “The Great Man’s Lady” and “Wildcat.’ Barbara Stanwyck. Joel McCrea and Brian Donlevy are the stars of the. former, a modern drama. Arline Judge and Richard .Vrlen head the cast of “Wildcat,” r romance.

SUBURBAN THEATRES

Klncnm (Kllblrnle).— "Rudyard Kipling’s Jungle Book," and- "Fly by Night.’ Rivoli (Newtown).—“You Were Never Lovelier.” and ‘‘Henry Aldrich, Editor." King George (Lower Hutt).—“To Be or Not To Be.”’ , . Do Luxe (Lower Hutt). — IJiytltm 0. the Islands," and “Subinarlt.ie Alert.” Prince Edward (Woburn).—i “The Sea Wolf." and "Never Been Kissed.” Vogue (Brooklyn).—"A Yank at Eton, and- “Flying With Music.” Capitol (Miramar). —“Wake Island, and “Smart Alecks.” Empire (Island Bay).— "Three Gtrlo About Town.” and "Maisle Gets Iler Ascot (Newtown). — "For Me and Mj' Gal.” and “Tlie Mummy's Hand.'’ Regal (Karori).—“The Letter,” and "Henry ami Dizzy.” Seaside (Lyall Bay).—Portion My biltong,” and “A Kid From Kansas."