PICTURE THEATRES

Evening Star, Issue 22146, 28 September 1935, Page 8

PICTURE THEATRES

- THE NEW PROGRAMMES MUSICAL MILITARY FILM HAPPY ENTERTAINMENT AT EMPIRE TJie motion, picture’s first musical military story has been secured by the management of the Theatre, where it was shown to audiences for the first time yesterday. There is no doubt that Dick Powell and Ruby Keeler'have an established popularity as a result of their former films in which music, dance, comedy, and a little drama are usually intermingled, but their present picture, ‘ Flirtation Walk,’ is something that considerably enhances their reputation. ‘Flirtation Walk ’ offers light and hajppy entertainment, being liberally dotted with bright tunes and cheery comedy interludes, and further embellished by the introduction of many spectacular scenes. _ ‘ Flirtation Walk ’ was produced with the co-operation of the famous West Point Military Academy, on the grounds of which several of the scenes were made. The action begins at Hawaii, switches to West Point, whither the hero has gone to become an officer and a gentleman, and then on to China, where his former sergeant and friend has important work to do. The closing scenes are again at West Point. All are colourful and full of life. Dick Powell, as Dorcy, has rarely had a more suitable part. Gifted with a fine singing voice, an intriguing look, and a natural sense, of humour, he glides smoothly through his part, always presenting the right mood and always extracting the most from the situation. Ruby Keeler has the leading part opposite him. Although hers is the smaller part, she holds the attention equally. Together they are heard in some delightful songs, particularly ‘Mr and Mrs is the Name,’ ‘Flirtation Walk,’ and another on the difficulties under which the cadets at West Point labour—‘No Horse, No Wife, No Moustache.’ Also deserving of m'ention is Pat O’Brien, as Sergeant Thornhill, otherwise known as “ Scrapper.” Hard of band and rather quick of temper, he is • devoted to Dorcy and is determined that he shall gain his officer’s rank. John Eldredge and Guinn Williams are others whose acting merits particular mention. The plot deals with the romance between Kit Fitts (Ruby Keeler) and Dorcy. It starts in Hawaii, where to save him from a court-martial Kit swears that he means nothing to her. It is continued years later at West Point, of which Kit’s father is now the commanding officer. There are complications, because Dorcy cannot forget his earlier rebuff at Hawaii and because Kit is now affianced to Lieutenant Biddle. But these complications are unravelled and “Scrapper ” arrives to see the graduation' to the rank of officer of the man whom he had done much to train. Notable among the spectacular and colourful scenes are the manoeuvres at sea, and the drilling of the cadets. There is, too, the authentic Hawaiian “ Love Feast,” with its traditional native dances performed by GO Hawaiian beauties and as many men. The dancing is entrancing, the singing tuneful and haunting. The beauties of Ireland’s scenery and some of the bigger buildings tire shown in one of tire supports, while in another Rimac’s Rhumba Orchestra and a number of spectacular and unusual dances are featured. The remainder of the supports are also of an interesting character. ‘IT’S A BET’ GENE GERHARD COMEDY AT REGENT Comedy and excitement are defty combined in. ( It’s a Bet, J which opened its Dunedin season at the Regent Theatre yesterday. It is a delightful English comedy of the highest order, and stars the very popular actor Gene Gerrard. In it he has a role in which he can show his ability at its best. He takes the part of a young man who has lost his job on a newspaper as a result of criticising the efficiency of the police, and who makes a bet with the newspaper owner that ho%an disappear for a month without being discovered. He stakes the only thing he < has—a ticket in the Irish sweep. The interest is intensified by the fact that both men are in love with the same girl. Furthermore, the car in which Gene Gerrard makes the first stage of his flight is stolen by jewel thieves, ivbo use it in a smash" and grab raid in which tho car is identified. .The newspaper owner has now every excuse for using the headlines to advertise that his rival is wanted, and his photograph is to 1m seen all over the country. In these circumstances Gene Gerrard has a most amusing and adventurous time. Again and again he is seen.and detected, and escapes being caught by a hairsbreadth. Ho falls in with the oddest assortment of people, and provides excellent fun at every turn of tho story. Publicity of every conceivable kind is thrust upon him; it even falls to his) lot to be photographed with the mayor of a country town on the platform at the unveiling of a statue. But all this serves only to make the picture more amusing. And there is a romantic interest, too, for he meets another girl, who makes him forget the one for whom he undertook the bet. Other unexpected complications arise, and there is a very big difficulty most ingeniously overcome at the end of the story. It is impossible to find the picture dull for a moment. There is, _ moreover, what is often to be found in English films —a few pleasant glimpses of the English countryside and its odd characters. Some of these people are very amusing indeed, especially in Devonshire, where the hero is to be found at one stage of his wanderings. The whole result is one of those typical English- comedies which, like ‘ His Wife’s Mother ’ and several others, have proved exceedingly popular. Gene Gerrard is one of those apparently impossible but highly successful combinations of a romantic hero and silly ass. Nobody could have played his part better. Opposite him Helen Chandler is a charming and graceful heroine, and one is glad that he ran into her (as he did, literally,_ in a ear) and solved in a most satisfactory manner the triangle at the beginning of the story. The other girl is played by Judy Kelly, an Australian actress, who is doing more and more successful work in films. She certainly plays very well here, and shows a charming personality both in manner and speech. The other characters are well taken —faint praise perhaps for some really splendid work. English producers have a habit of putting some of their best actors into tho smallest parts, with the result that some excellent titbits of character

study appear throughout the picture. The film is based ou a novel which lends itself very successfully to screen treatment. It is well handled, the dialogue is sparkling, and the movement of the story is extraordinarily rapid and easy. The audience cannot lose interest or fail to be amused. There is nothing lacking that makes for the best kind of farce, and there is no need for anyone in Dunedin to want for a good laugh while this programme continues The supporting features include two newsreels, a variety number, some picturesque Irish scenes, and ‘ Air Road to Gold,’ showing tho flight from the coast to the goldfields at Bulolo and Edie Creek, New Guinea. UNUSUAL AND OUTSTANDING • SEQUOIA • AT ST. JAMES ‘ Sequoia,’ which was shown at the St, James Theatre for the first time yesterday, is a most unusual and outstanding film. It has an appeal both to educationists and connoisseurs of artistic film production and good photography. The subject of the picture is the animal life of a Californian forest, and the story becomes a plea for the preservation of the wild creatures. The picture begins when the daughter of a novelist (played by Jean Parker) finds a young deer and a young puma, both of which havS lost their parents. She brings them home to her father’s shack, with the assistance of a ranger, and sets out to make them forget their natural enmity and to live together on friendly terms. She has remarkable success, but difficulties arise when tho puma begins to grow up and raids the poultry yard of a neighbouring rancher. It is illegal to keep pumas, and when the novelist decides to return to the city his daughter has to turn both her pets loose. The adventures of the two in the forest are dealt with in a most interesting and fascinating manner. Naturally they separate; hut they meet again when the puma is in search of prey, and it is found that their old friendship lias remained. The deer soon has a young one of his own, and when its mother dies he takes it back to the home where he -was brought up, for the occupants have come back again. These incidents are treated with exquisite care and skill, and one can only feel an extraordinary sympathy for the animals and their lives and troubles. There is excitement, too, in the picture. The animals and their protector have a constant struggle with the villainous rancher who traps and shoots the deer illegally. He finally meets his fate in a struggle with the puma and deer, whose enmity to him has lasted since their captivity. The girl who had befriended them meets them in the forest several times, and there are some astonishing scenes in- which she shows her influence over them. There is a slight—but very slight—love story in which the heroine and the ranger figure. This in no way clashes with the main theme of the picture; it is developed very naturally and completes the- interest of the story. Another human being who plays an important part in the picture is a little Chinese boy, the son of the novelist’s cook, v who has sopio surprising adventures when he wanders into tho forest. It is the magnificence of the Californian forest and the beauty and grace of the animals in their natural setting that do most to make ‘ Sequoia ’ not only an absorbing but a valuable picture. It is said to have taken over a year to make, and one can well imagine’ what care and patience must have been needed to obtain some of the shots. Photographically the picture is not merely clever—it is an artistic masterpiece. EVery kind of technique known to the photographer is used to secure the necessary effects, and the pictorial material which the subject offers is used to the utmost advantage. It is a film which certainly conveys a great deal of instruction, and does so in an absorbingly entertaining manner. The programme of shorts is an exceptionally good one, the' most entertaining feature being a Laurel and Hardy comedy. Entitled ‘ Oliver the Eighth,’ it is one long laugh, these droll comedians being seen at their best. A clever cartoon, ‘A Good Scout’; a travelogue, ‘ Zion -Canyon of Colour ’ and a Metrotone News complete a highly satisfying bill of fare which will be repeated to-night and during the week. ; STRAND’S ATTRACTIVE PROGRAMME BRIGHT COMEDY IN ‘THE CHURCH MOUSE • Those who are fond of good comedy are well provided for in ‘ The Church Mouse,’ the chief attraction shown at the Strand yesterday. This picture brings back to the screen that competent little actress, Laura La Plante, who as an efficient but unattractive- secretary to lan Hunter, plays her role to perfection. How she wins the heart of her employer forms the basis of the story/ which is brimful of comical situations. The picture is suddenly switched from London to gay Pares, where one sees glimpses of the sights of the Parisian capital at night. lan Hunter, as a prominent banker, is, particularly well cast, and Miss La Plante and he make a romantic pair. Although the whole film is a comedy the palm for the brightest humorous touches must be handed to Clifford Heatherly in the role of a wealthy old magnate who considers that his business should not be allowed to interfere with his pleasure, while Edward Chapman’s dry humour makes a delightful contribution to the general gaiety of the theme. Others in the cast are Jane Carr, Monty Banks, John Baten, and Gibb M‘Laughlin. The supporting programme includes two interesting newsreels, a Grantland Rice Sportlight Cocktail, a musical entitled ‘ On tho Spotlight,’ and an hilarious comedy. This evening and for the remainder of the week the principal picture will be ‘ Journal of a Crime,’ featuring Ruth Chatterton and Adolphe Menjou. Both are fine artists and the story is such that it should provide them with plenty of opportunity for a display of their dramatic talents. Although it is a murder story it deals more with tho psychological effects of the crime than the crime itself, and when it is realised that it is the two principals who are chiefly concerned in the murder it should bo clear that there will be some tense and dramatic situations.

GRACE MOORE'S FILM AT THE STATE Advance reports that Grace Moore’s second film, ‘ Love Me Forever,’ was a greater success than its predecessor, ‘ On© Night of Love/ were fully confirmed, at the initial screenings at the State Theatre yesterday. People who saw it were most enthusiastic about its entertainment value and were enraptured by Miss Moore’s fascinating personality and her spirited singing. True, there are a few features about * Love Me Fonever ’ reminiscent of ‘ One Night of Love/ but therein lies the strength of a wonderful film, f ol ' it is only in the expression of a fine personality and the wonderful music that the resemfolance is apparent. The play is of a standard and type expected to be made available for one of the screen’s most outstanding personalities and l to it she does full justice. Miss Moore, ever since she fought her way to the front ranks in grand opera, has been universally praised for > her engaging manner, voice control, range, and sweetness. All these attributes are pcominently featured in * Love Me Fonever/ and with Leo Carillo and a strong cast in support, the action of the good story is never allowed to waver. In Puccini’s ‘ La Boherae/ which is the grand opera work chosen for the film, Miss Moore has every opportunity to give free rein to a voice which, if anything, appears to have improved since. ‘ One Night of Love.’ * Che Gelida Manina/ the best known melody ■written by Puccini, is one of many highlights. In the film nearly a complete scene from the opera has been incorporated with more than pleasing results. To emphasise the rang© Miss Moore ' is capable of,, a number of lighter songs and foxtrots have been included, and besides adding variety, they tend to give some idea of what a combination operatic and lighter music, when well .blended, can be; Of course, having taken a leading part for some seasons in jnusical comedy, Miss Moore has no more trouble in bringing out the best in a light song than she has in singing, .excerpts from opera. The storjr. a good romance, is of the type that has been found 1 the most successful in films of this kind, and here careful and painstaking direction is apparent,, for the story would indeed be a hard one io fault. Nothing has been overdone, and from on© amusing ; situation to smother the action flits in ordered sequence. Margaret Howard (Grace Moore) is dependent on her voice for a living, while Steve Corelli (Leo Carillo) is a restaurant proprietor with two guiding lights—gambling and opera. He discovers Margaret by chance and his one ambition : is to see her singing in grand opera. To say that he is not in Jove with Margaret would be something in the nature of a libel, but he covers this up. until a number of intriguing and interesting circumstances make it only too apparent. How the film works out to a logical .conclusion is the basis of the story, and judged by the success achieved by ‘ One Night of Love/ this film should have an indeterminate season in. Dunedin,' The acting of the principals is flawless, while the setting have been carefully chosen and help in no small way . to make the ; production the success ■it undoubtedly is. HIGHLY-APPROVED FILM NTAMN SHOWS 1934 PRIZE WINNER Acclaimed about a year ago, when it was first shown in Dunedin, as an entertainment of sterling quality, ‘ It Happened One Night ’ so impressed the critics of the-world thait it earned the unstinted distinction of being the best film of 1934/ General appeal, in that a popular and accomplished cast extracted the last ounce of enjoyment from a modern and faultless story, was its outstanding attribute., and since as it captivated millions of screen followers during its first release no one need doubt that pleasure is assured by a visit to the Octagon Theatre during the ensuing week, for it there heads the current double-feature programme'. . Doubtless many who missed seeing it /previously will not allow this second opportunity to pass, while many others who have already seen it will be eager to enjoy again its brilliance and romance. Clark Gable and Claudette Colbert, ■ who are right in the top rank of screen favourites at the present day, were primarily responsible for placing ‘ It Happened One Night ’ on the pedestal of tame. Neither of them, before or since, have appealed in more impressive roles than the young couple, whose romantic /adventures on a journey from coast to coast of America have been branded everywhere as superlative enjoyment.” Debonair and nonchalant, Gable is by far the most popular masculine stellar figure on the screen today, and Miss Colbert’s art as a gay : adventuress in many notable produci tions has won for her no less prominence among the actresses of the screeh. The all-important supporting cast includes such artists as Walter Connolly, Jameson Thomas, Roscoe Karns, and , others. Sparkling comedy is naturally introduced in a story of exciting surprises and thrilling romance, when a petulant young heiress, hastening incognito to New York to bo with her newlyacquired husband, meets a cynical, dashing newspaper reporter out of a 1 job. He recognises her when her irate father publishes her picture and offers a reward for information regarding her • whereabouts. ‘ He scents a good “ story/’ and ere long she is ensconced under his protective wing. A rain storm halts their bus; they spend the days hitchhiking, the nights in motor camps. He scorns her and tells her she is worthless, spoiled, and selfish, but she is human, lovable, and tantalising, so while at first she resents his treatment she comes to tolerate it and then to love it. Thus they make New York with the prospect of a wedding in the offing. The-, supporting film, ‘ Social Register/ featuring Colleen Moore, gives iher a pert and saucy role and a chance to display her sense of humour. A distinguished cast supports her, consisting of Alexander Kirkland, Margaret Livingston, and Pauline Frederick. A TRIP THOUGH LONDON StEKIG AT GREEK ISLHD CINEMA London, although a city of a mifllion wonderful things to see and do, has always retained about it an atmosphere impenetrable silence, inasmuch as though she only wanted those fortunate , jnortals who could enjoy an actual trip / to London, to share in her being. Thus jjjor ihe jfrsji timp in the history of the

taftdng picture screen, a full-length feature production has been completed, titled ‘ London Speaks/ and will be shown at the Green Island Cinema tonight. It is a story of a traveller in London, the highlights of the film being the fact that you actually accompany the wanderer and share in all the adventures, discoveries, and interesting episodes. In fact, you do everything you*have always dreamed about doing in London. Besides being of such an interesting nature, ‘ London Speaks ’ is also notable for the fact that it is the first feature length film produced in London by Australian enterprise and capital. A COMPELLING PROGRAMME MAYFAIR SCREENS TWO FINE FILMS Two extremes in picture entertainment —a serio comedy and a powerfully attractive drama—should; find unanimous favour with audiences of the Mayfair. These two compelling g reductions are ‘ Mrs Wiggs of the abhage Patch ’ and ‘ British Agent/ The first film, which has preserved all the homelv, lovable philosophy of the novel and play, also has W. C. Fields, Zasu Pitts, Evelyn Venable, and Kent Taylor in the principal roles. The parts of the famous “ Wiggs brood ” are played by capable Hollywood! child-players, and the story tells the struggles and heartaches that come to this poor, struggling family, whose father “ thinks too hard to be bothered with work.” The locale of the film is a blginning-of-the-century shantytown, the “ cabbage patch,” where humorous, courageous, but impoverished, people share .each other’s griefs and happiness in the struggle for existence. The other film forms a great contrast. It is 1 British Agent/ featuring Kay Francis and Leslie Howard. The stark, colourful chaos was Russia during the early days of the Revolution is the locale of the drama. Kay Francis as Elena, an aristocratic Russian who has become obsessed with the suffering of the peasants, dedicates her life to the Red Ideal as personified by Lenin, Her life is saved, during a street riot,_ by Stephen Locke, an unofficial diplomatic agent for England, a role portrayed by Leslie Howard. They fall in love with each other, and the exciting adventures that befall them before a satisfactory climax is reached make excellent entertainment. MORALS AND THE MAN GRAND’S COMEDY FINDS FAVOUR Questionable moral stability, the cause of the query, a scientist whose only fault is that his mind is wholly centred on his work and not on the temptations of the outside world, and lastly, the inevitable woman, form the theme of the Grand’s successful current comedy, ‘ The Morals of Marcus/ Lupe Velez has the leading role in * The Morals of Marcus.’ The story is full of humorous misunderstandings which keep the audiences in the best of humours, and the interpretation given by the cast makes the most of the material on which they work. Marcus, whose morals are the concern of the title, is a scientist who has brought back from excavation work in the Near East a beautiful statue. ' Unfortunately for his peace of mind he has also had thrust upon him the care of a girl who has escaped from a harem, and who wishes to reach England. The stir which she makes in a peaceful English household is laughably depicted, and the trials of the scientist In attempting to escape from the matrimonial designs of the lady form good material for comedy. Lupe Velez is, of course, the girl whose presence causes all the trouble, and lan Hunter is cast as Sir Marcus. Others who have important roles are Noel Maddison and Adrienne Allen, and the supporting cast includes a number of capable players. The programme of short subjects is an interesting one. ADLISS IN FINE ROLE ■TK KM MU' AT UW Although perhaps _ not strictly accurate from an historical point of view, there is no doubt that Mr George Arliss’s characterisation as the Duke of Wellington in ‘ The Iron Duke/ which will be screened to-night at the Laurier, Port Chalmers, should prove a very popular one. It is a polished study of a genial old gentleman who was also a great soldier, an& no mean politician. The film, of course, is George Arliss, which is not at al derogatory to the artistry of the technical side of the production, for the actor’s personality is more than sufficient. Hc_ moves on a stage that has been skilfully arranged to bring out all the depth and variations of his perfect characterisation. The background is almost illuminated by his presence as he moves and plays his’ part with practised ease. The line “ There was a sound of revelry by night ” has conjured l in everyone’s mind the splendour of that famous occasion on the eve of Waterloo; but the technique of the film has brought a scene of amazing magnificence, familiar because it fulfills what has been mentally pictured.