PICTURE THEATRES

Evening Star, Issue 21743, 11 June 1934, Page 2

PICTURE THEATRES

STATE ■Janet Gaynor gives an appealing portrayal in a romantic role somewhat reminiscent of that she played in ‘ State Fair ’ in ‘ Carolina,’ which continues to attract large audiences to the State Theatre. Her role is that of a girl from a northern State whoso family moves to the cotton-growing district of Carolina, where they commence growing tobacco. Her innocence and her disarming flair for romance to inject a now will to succeed into the southerners, who for generations have entertained no such notions. She meets the son of a neighbouring family of aristocratic* but impoverished southerners. Ho is so despondent that he is inclined to let matters slide, but she inspires him to do his best and work his plantation to the utmost, and the story moves to a happy but unexpected conclusion. Miss Gaynor gives a splendid performance in the principal role, and is well supported by her new leading man, Robert Young. Lionel Barrymore contributes another of his splendid characterisations as a proud old man who refuses to be perturbed by lack of money. Others in the cast are Richard Cromwell, Henrietta Ci osman, Mona Barrie, and Stepin Fetchit. The story was adapted from Paul Green’s play ‘ The House of Connelly ’ by Richard Berkeley, who wrote the screen version of ‘ Cavalcade.’ The programme of shorter films is fully up to the standard set by the main attraction, and includes all the latest gazettes, a comedy, and a varied and interesting array of topical films dealing with recent world events. > -

GRAND “ What is a little disconcerting is to find that most New Zealanders, even those who can afford to travel, know relatively little of their own country. They have yet to discover . . . and put personally to the.test the inexpressible joy of gazing with rapture on the numerous aesthetic gems of their natural heritage. . . .’’So spoke the GovernorGeneral (Lord Bledisloe) in the course of an address on this country’s scenic attractions at Auckland a few days ago. To those who cannot afford to travel and assume the role of discoverers, an opportunity of journeying through New Zealand and marvelling at its varied feast of beauty can be experienced this week at the Grand Theatre, which is screening for .the first time a film that treats the subject in a manner that has never before been attempted. That picture is * Romantic New Zealand.’ Bushfelling, surveying, road-making in the hack country, the hectic life of the early gold-diggings all come to life again on the silver screen, with sound, colour, and bright descriptive talk to give the absolute atmosphere of the period depicted. Stage by stage the picture leads one on through the country’s development to the New Zealand of to-day, with its progressive cities and busy ports. As a wonderful 1 background, the majestic splendour of our scenery runs through the whole picture. Towering alpine peak and dazzling glacier, stupendous fiord walls and grim volcanic peaks form the setting for the human interest that makes the film a living story throughout. Technically, the film is a credit to New Zealand enterprise, which is also responsible for the presentation of many beautiful scenes in their true colours by a process, which is the, invention of this • country. It opens 'with . a prologue embracing historical developments from Maori days through the tensely anxious colonisation period to the present day. The cameraman has covered a wide field, and no section of the community could complain that their favoured beauty spots have been disregarded. Even city views enter into the pictm-e, which is a striking panorama of New Zealand’s .untold beauty and wealth, both natural and physical. One is stirred to a sense of thrilling pride in the heritage left us by the hardy pioneers who were responsible for carving their homes from the wilderness. ‘ Ever Since Eve,’ with George O’Brien, Herbert Mundin, and Mary Brian in the leading roles, is , the second picture on this splendid programme. .

EMPIRE ‘Cradle Song,’ at the Empire Theatre this week, is a 'film that should appeal particularly to women, for it is a story of mother-love, shown however in unusual surroundings, and with more restraint than is usual in such films. It is admirably acted and produced throughout, but it is additionally notable because, in it Dorothea Wieck, the talented German actress, makes her first appearance in American films. The story is about a child left at the door of a convent. She is brought up under the care of Sister Joanna, who finds in the child an outlet for the maternal affection denied her by her position. The inevitable crisis comes when the child grows up and after some experience of the outside world, meets a young man and marries him. Sister Joanna’s realisation that her love has become selfish, and her ultimate renunciation are well shown. Dorothea Wieck has an unusual and calm beauty, and though the film does not demand of dier any ostentatious display of emotion, she shows a mastery of fine gradations of expression. But the film is far more than a simply emotional story. The .religious atmosphere throughout is better and. more reverently conveyed than in any recent production, from the initial parade of the Children qf Mary, through the streets of a small Spanish town, to the scenes within the convent. The leading characters among the nuns are sharply distinguished, with pleasantly human touches. Evelyn Venables, as the girl Teresa, is charmingly naive, and youthful, and Sir Guy Standing as the village doctor—the girl’s fosterfather—brings to the part a graceful manner and sound common sense, combined with dry humour. The supporting programme is a good one.

REGENT Characterised by _ wonderful photography, amazing flying, tensest drama, thrilling episode, and a deep human interest, * Night Flight,’ at the Regent, provides wonderful entertainment. Its direction is an outstanding achievement while one of the underlying elements of the success the production undoubtedly scores, is the excellence of the acting. The story covers but twenty-four hours in the organisation of the Trans-An-dean-European air mail service, plying between Santiago,; Buenos Aires, Montevideo, and Natal. From thence the plan was to transfer the mails to a _ fast steamer for Europe. A child in an infantile paralysis hospital in Montevideo can only be saved by serum injections, and these can only be supplied from Santiago. The air mail is chosen as the only means oh getting the vital treatment, and this entails flying over the most dangerous route in the world. The aerial organisation revealed in the development of the story is wonderfully efficient and amazing in its execution,, the airmen being of the intrepid, dare-devil typo to whom danger: and risk are necessary daily tonics.

John Barrymore, as the head of the concern, is relentless in his fight for punctuality and “ ranking to schedule,” considering human! life as blit an ingredient in the business. Clark Gable, as the chief pilot, who is lost in a terrific storm, plays opposite Helen Hayes, and the pair give a wonderful portrayal, with Myrna Loy and Robert Montgomery, besides Lionel Barrymore, also coming prominently into the cast. The air mail planes in the end achieve what is asked of them, though at a sacrifice, and after exciting scenes.

ST. JAKES Acted by an entirely British cast and set against a backgound of' typical English scenery, ‘ The House of Trent,’ with Anne Grey and John Stuart in the leading roles, is the principal attraction at the St. James Theatre. The story opens with the arrival of a newlywedded couple at Monk’s Mere, their future home, and the husband’s entrance into private practice as a physician. From 1906 the audience is transferred to 1912, when the couple’s cares are fully devoted to the upbringing of a young family. It is in the years immediately preceding the outbreak of war that the unbroken happiness of the young wife and children is cruelly struck by the untimely death of their father. Years of struggle follow, and the family is next seen in 1933. The children are now young, in their early twenties. John, ater a successful university career, returns to his home to wait until he is called to enter a famous London hospital. By accident he meets Angela, the attractive daughter of Lord Fairdown. and although she is meant by her father for another to join two large newspaper interests, both fall deeply in love with each other. Unexpectedly John is called to London and a series of circumstances are set in motion which lead the Trent family through great suffering to happiness and the fulfilment of the hopes of the devoted couple. The supports include a Pa the newsreel, a pictorial, record of the M‘Kay expedition in Central Australia, and an interesting series giving a demonstration of the leg theory by Harold Larwood with Hendren and other well-known batsmen, at . the wicket.

IGTAIIN Again Ellssa Landi comes to Dunedin in a picture that is a new exhibition of her art. With Warner Baxter ter she is the star of ‘ I Loved You Wednesday,’ the current attraction at the Octagon. Elissa Landi is seen as a trained dancer, who is about to take a holiday with her lover, Randall Williams, played by Victor Jory, when she discovers that he is married. Her romance shattered, she leaves for an engagement in South America, where she meets a successful civil engineer, Philip Fletcher, played by Warner Baxter, who takes an interest in her. He helps her to return to America out of a wholesome spirit of comradeship, and discovers that her heart is not free. Philip leaves her to carry on his work with the great Boulder Dam project, and Vicki again visits Paris, where she becomes a famous dancer. She pines for Philip’s company, and he rushes across the Atlantic to her side. Vicki goth to a nengkgement in America, arid on the last night of her contract she agrees to go with Philip for a cruise on his yacht. Randall turns up at her flat saying that he intends to divorce his wife. Philip arrives, and they all go to supper, where they encounter Randall’s wife, Cynthia, played by Miriam Jordan. Randall tells his wife frankly that he intends getting a divorce and is coaxing Vicki to leave with him for Paris. Out of this four-sided puzzle comes the decision of all concerned Us to what is what. Warner Baxter’s part could not have been better cast. He has the appearance and the personality to carry out the role of the strong, two-fisted engineer with the tender heart; in one sequence there is a background of the huge Boulder Dam. The supporting programme is an attractive one;

STRAND Edward G. llobifisou is the principal in ‘ I Loved a Woman,’ the entertaining picture which is attracting capacity (Audiences to the Stniud Theatre. He gives an excellent performance. The role is very similar to the one he played in ‘ Silver Dollar,’ and the story is written by the same author,- David Karsner. The introduction to the tale is the clash between the artistic temperament of a lad and the business temperament of his father. Young Samuel Hayden, played, by Robinson, scorns the idea of entering his father’s tinned meat business, because he is convinced that he has got a soul above such things. However, his father dies, and he is forced to enter the and at once attempts to run it on an idealistic basis. His line of thought is changed when he meets a woman, a promising opera singer, who persuades him that power is the only virtue that must be fought for and won. By this girl’s influence the dreamer is transformed into a ruthless business magnate. Success is achieved, and finally he becomes a tinned meat “ king.’’ A poisoned meat scandal aiid then a financial .crash as the result of the war ruins the company, and Hayden is charged with manslaughter. Laura Macdonald, _ the opera singer, deserts him, but is finally seen with him when he resides in Athens, whence he had to flee from justice. Thus is given a happy climax to a most entertaining and unusual picture. KING EDWARD Slim Summerville and Zasu Pitts are seen together in ‘ Love, Honour, and Oh, Baby,’ an uproarious comedy which is being screened at the King Edward Theatre this week. Slim plays the part of a lawyer, while Zasu, as his girl friend, is a file clerk who acquires all the facts of life from her “ hardboiled ” employer. The story is centred round a breach of promise action, in which Slim acts for the plaintiff and Zasu is an important witness, and some remarkably ludicrous situations arise. Verree Teasdale is the blonde villainess, and George Barbier, Lucille Gleason, Donald Meek, Purnell Pratt, and Adrienne Dore arc also in the cast. A gripping film of polar adventure. ‘ S.O.S. Iceberg,’ is another feature of the programme.