PICTURE THEATRES

Evening Star, Issue 22448, 19 September 1936, Page 20

PICTURE THEATRES

THE NEW PROGRAMMES REGENT’S SCINTILLATING ENTERTAINMENT MARLENE DIETRICH IN ‘DESIRE’ Scintillating entertainment is offered in ‘ Desire,’ tlie Paramount picture which commenced a season at the Regent Theatre yesterday. Excellent light comedy between naturally drawn, delightfully amusing characters has been deftly interwoven with an enjoyable story, and the picture’s crisp, effervescent quality makes it one of the most entertaining films that has been shown in Dunedin for a considerable time. The picture was made under the personal supervision of Ernst Lubitsch, who made such sparkling films as ‘ Trouble in Paradise ’ and ‘ The Love Parade,’ and it reveals the same delicacy of touch .‘and the same subtlety of direction which have deservedly contributed toward the_ wide popularity of his previous productions. A brisk pace, breezy dialogue, inspired situations, flawless acting, and lavish production combine to lift ‘ Desire ’ far above the ordinary run of romantic comedies. Exhilarating is the only word that properly describes the story, the acting of Marlene Dietrich and Gary Cooper, and the work of Ernst Lubitsch, who personally supervised the production. Once 4 again the impish Lubitsch “ touch ” is discernible in this subtly sophisticated entertainment. Call it charm, good taste, intelligence, or a \ blend of all three, the famous “Lubitsch touch continues to be an intangible quality as difficult to describe as a shrug of the shoulder or a lift of the eyebrow. Additional interest is lent to the film in that it is the first American picture in which Miss Marlene Dietrich has appeared without the direction of Josef von Sternberg. Lubitsch has made Miss Dietrich move faster, speak faster, and behave in a more vivacious fashion. She recaptures in her new film some 6f the freshness and gaiety of spirit that was hers in ‘ The Blue Angel.’ The change is as delightful as the picture. Known, perhaps, more aptly as ‘ The Pearl Necklace ’ during the period in which the picture was being made, the film is set briskly in motion when Miss Dietrich skilfully filches a pearl necklace from a Paris jeweller and races for the Spanish border. Driving more leisurely in the same direction is Gary Cooper, a cheerful Detroit engineer on holiday. When the Customs officials begin inspecting their luggage, Miss Dietrich slips the necklace into Cooper’s coat pocket. Ho tosses the coat into his suitcase, and Miss Dietrich is compelled to flirt with him—much to his delight—until an opportunity arises to recover the property. _ After a series of delightful episodes, the pearls are restored to their rightful owner and the story ends on a happy note. Following on his performance in ‘ Mr Deeds Goes to Town,’ Gary Cooper again shows his ability for light comedy by his depiction of the young Detroit engineer who sings unmusically, hugs himself over his unexpected conquests, and smuggles his cigarettes over the Spanish frontier. Alan Mowbray, as an eminent alienist, and Ernest Cossart, as a wealthy jeweller, also present flawless sketches. The photography throughout is excellent, and the scenes of motor cars racing over mountain roads are a credit to Charles Lang, the cameraman. The supporting programme is of the Regent’s usual high standard, a most entertaining item being given by Mr Clement May, the English actor and elocutionist, who is introduced in a featurette entitled ‘ Make-up Magic.’ A coloured cartoon, ‘ Little Stranger,’ is a very clever piece of work, and a Paramount pictorial adds,further variety to an excellent programme. The Regent entertainment is always enhanced by the playing of the Regent Orchestra under M. do Hose, and opening with the overture from ‘ The Barber of Seville,’ it is also heard in a fine programme of bright and popular numbers.

The programme will be repeated tonight and during next week. ,

THE GAY MAE WEST EMPIRE SCREENS ‘ KLONDYKE ANNIE’ Another of her unmistakably individual characterisations is given by Mae West in ‘ Klondyke Annie,’ which was screened for the first time at the Empire Theatre yesterday. _ The name of the world-famous Mae is in itself sufficient attraction to draw audiences, but, coupled with a story of such outstanding merit as ‘ Klondyke Annie, it is little wonder that the film was viewed hy excellent houses. No one other than a superb actress could make convincing the amazing characters in which _Mao West specialises, and in which' she exploits the manners and costumes of the ’nineties for the entertainment of the present generation. But the response of filmgoers the world over to her first films left no doubt that she had hit upon a gold mine when she created a modern version of the alluring ladies of New York’s golden age. In ‘ Klondyke Annie,’ the scene changes to San Francisco and Alaska, but all the spirit of that era is preserved intact. In this latest production from the West repertoire the famous star plays the part of an entertainer in a night club in Chinatown. The story begins with Miss West playing a double game with a Chinese, who decides to blind her and gets stabbed in the back by the lady for his pains. She escapes to a ship bound for the Klondyke—the period is the gold-rush days—and immediately enslaves the husky skipper. As this gentleman is played by Victor M‘Laglen, it can be imagined that a romance rapidly develops. There is, however, a great deal more to the story after the ship reaches Alaska, and “ ’Frisco Doll ” becomes a _ missionary for her own purposes. This is the sort of unexpected turn which adds zest and humour and gives Mae West the opportunities which only she can thrive on. By dint of good authorship the story reaches a happy and unexpected conclusion, , and missionary stock rises accordingly. As the captain of the ship, Victor M'Laglen naturally gives a forceful characterisation, and if Mae West dominates the film it is not because M’Laglen is lacking in ability, for he already has an enviable reputation. The somewhat difficult role of missionary is in the capable hands of Helen Jerome Eddy. The story, written hy Miss West, has plenty of drama, splashes of -comedy, and many typically Western lines. The star is also heard in three distinctive song numbers, ‘ I’m An Occidental Woman,’ ‘Mr Deep Blue Sea,’ and ‘ Little Bar Butterfly,’ while the song interludes at the settlement house meeting are excellently arranged. ‘ Klondyke Annie ’ is excellent entertainment. Two newsreels, one being a full record of the trooping of the colours in Hyde Park, a Grantland Bice sportlight (with Ted Husing as breezy a narrator as ever), and a rhythm picture by Johnny Green's band, comprise the short subjects, making a programme of merit and wide appeal. BRILLIANT SCREEN TEAM BEERY, BOLES, AND STANWYCK IN GRAND ATTRACTION Wallace Beery—Barbara Stanwyck— John Boles. These three, great stars, together for the first time, enact their greatest roles in 20th Century’s roistering, romantic ‘ A Message to Garcia,’ the picture heading the Grand bill. Inspired by Elbert Hnbhard’s immortal essay, the picture has a plot written about one of history’s most fascinating exploits. Boles is the man who carries the message to Garcia in the jungle interior, a message that will change the destinies of throe nations. For a companion, he take Wallace Beery, an amusing rogue who is half traitor, half hero. When they discover that the man who was to guide them to Garcia has been killed, they take his daughter, Barbara Stanwyck, to show them the way. Hardship, peril, adventure, faced together in the treacherous jungle, draw Boles and Miss Stanwyck to each other. _ But, when she is wounded Boles carries on bravely with his mission, leaving her behind in the care of Beery. The taut and nerve-scraping climax of the picture approaches when Beery reappears and leads Boles into what he mistakenly thinks is Garcia’s camp, actually tiie stronghold of Boles’s enemies. A heroic charge led by Beery frees Boles from the clufches of his captors, makes possible the rejoining of the lovers and brings the picture to a happy close.

SUCCESS OF THE YEAR ‘ MIDSUMMER NIGHT'S DREAM ' AT HIS MAJESTY’S Only Toy collecting a cast of more than the average ability has Professor Max Reinhardt made a success of ‘ A Midsummer Night’s Dream,’ which is showing at His Majesty’s. This statement is not made with the idea of deprecating the undoubted genius of Shakespeare, but to illustrate the intricacies with which such a production is fraught. Every scene combines one hundred and one details, and each one had to be investigated. Technological genius played as big a part in the picture as the versatility of those in the leading roles. And the result? The screen hit of the year. All conjecture as to the outcome of bringing Shakespeare into the movies has been swept away with the triumph which James Cagney, Joe E. Brown, Dick Powell, Anita Louise, Jean Muir, Olivia de Havilland, and Frank MTlugh score at each appearance. The musical score is something to marvel at, while the tenderness and faith with which the love scenes have been treated lend a worthy note to the film. EXCELLENT ENTERTAINMENT ZANE GREY CLASSIC HEADS STRAND BILL With ‘ Drift Fence,’ the Paramount adaption of the famous Zane Grey Western drama heading the fare, and a fine musical, 1 Laughter in the Air,’ giving admirable support, the new programme at the Strand offers excellent entertainment to local motion picture fans. Stirring drama, such as one has come to expect of a Zane Grey story, characterises ‘ Drift Fence,’ the newest type of action film. No one is more adept at presenting struggles of the vanished frontier days of Arizona than Zane Grey, and 1 Drift Fence is one of the most engrossing stories that has come from the pen of this wizard of Western tales. Adventure, romance, and humour are skilfully blended in this danger-bristling melodrama. It unfolds a colourful story of the days when desperadoes ruled the Arizona cattle lands, and refused to allow the big ranchers to confine their herds within fences. Leading roles are enacted by Larry (“Buster”) Orabbe, Katherine de Mille, , Tom Keene, Benny Baker, Glen Erikson, and Stanley Andrews. A “ drift fence,” peculiar to the frontier days, was an enclosure used to thwart rustlers. In 1 Drift Fence ’ Tom Keene plays a Texas Ranger who takes the place of an Eastern lad come to the West to learn ranching, and starts to build a drift fence, knowing that the rustlers will do all they can to prevent it. Complications get under way when the rustlers persuade a hard-fighting small rancher to side with them, since it is to his interests to have his cattle graze at large. Interwoven through the fast action is a romance between the ranger and the sister of the young rancher. With its cattle stampedes, “ broncho-bust-ing ” scenes, and the thrills of the bitter duel between the law and the outlaws, ‘ Drift Fence ’ is rich in exciting entertainment. ‘ Laughter in the Air ’ features many of the finest talents of stage, screen, and radio in America. Myrt and Marge (Myrtle Vail and Donna Damerell), conceded to be the most popular radio team on the air, are starred, and make their first appearance on the screen in this production. They have won popularity contests over “Amos ’n Andy,’ besides other innumerable brilliant radio teams. Another of the famous artists in the Myrt and Marge act appears in the picture—Ray Hedge, who takes the part of Clarence. A theatrical troupe is trying onr a new show, which proves to be a failure. The manager turns the show over to tho east, who are to run it on a co-opcrativc basis. Myrt, the leading woman, raises the money for the continuation from a wealthy acquaintance, ami then all kinds of remote talent are discovered in and around the show. The stage manager and his hands turn out to bo excellent comedians, a vaudeville youth turns out to be a brilliant artist, and so flic whole scheme wends its way through devious ups and downs until the ultimate successful finale is reached, with the entire make-shift cast firmly established on Broadway. The supporting players are excellent.

CELEBRATED DANCING COMBINATION ASTAIRE AND ROGERS AT STATE Those two very clever and charming personalities of the screen, Ginger Rogers and Fred Astaire, have a very wide following, their appearance alone in a film guaranteeing its success from a box-office viewpoint. And if the audience that packed the State last night to see the results of their latest association in ‘ Follow the Fleet ’ can be taken as a criterion, this production’s Dunedin season should be an outstanding success. The picture is a good one, and, what is more than some pictures can claim, the plot deviates from the more or less accepted lines of musical romances. If further proof of its excellence is required, suffice 'it to state that ‘ Follow the Fleet ’ was screened for four weeks in Christchurch. Beginning on a battleship, shifting to a San Francisco waterfront dance hall, and then to a society function on Nob Hill, ‘ Follow the Fleet ’ reaches a finale that elaborately features the Irving Berlin number, ‘ Face the Music,’ which is sung by Fred Astaire and provides the accompaniment for an interpretative dance by Fred and Ginger. The sequence surrounds a play given on board a freighter, the Connie_ Alartin, to raise funds so Harriet Hilliard can make the final payment on the craft in which she and Randy Scott plan to sail to distant honeymoon ports. It could truthfully be said that this picture goes one better than the famous ‘ Top Hat,’ and provides magnificent opportunities for comedy and spectacle. In short, it may be said that ‘ Follow the Fleet ’ rises to the top standard in screen musical comedy. The story illustrates the old saying, “ The course of true love never runs smooth,” but innumerable complexities arise from the fact that both the men whose love stories are followed (Fred Astaire and Randolph Scott) are sailors. Full opportunity is therefore taken for witty repartee, for which Astaire is famous, and several dances are introduced in appropriate places. The opposite leads are played by Alias Rogers and Harriet Hilliard, as sisters. Particularly witty lyrics are sung by Astaire to music of the usual high standard of Irving Berlin, the best of which are ‘ AVe Saw the Sea,’ ‘ Let Yourself Go,’ and ‘ Let’s Face the Music and Dance.’ Some of the scenes deserve particular reference. Perhaps one of the finest tap dances that Astaire has yet done is that on the battleship, where, with a ballet of sailors, he imitates a kettle-drum march with astonishing accuracy of rhythm. It is a model of grace and ease. It says a good deal for Hollywood’s ingenuity that the picture is as fresh and stimulating as the first one in which the team appeared. Astaire and Miss lingers are primarily dancers. Their last two pictures have shown a marked development in their ability as comedians, top, and this one is certainly no exception. The short associate bill is good. •THREE LIVE GHOSTS 1 TRANSFERRED TO ST. JAMES Such has been the popularity of ‘ Three Live Ghosts ’ that it has been transferred to the St. James this week. The excellent support given the film last week has persuaded the management of the St. James to give Dunedin audiences a further opportunity to see this remarkable film before it leaves the city. Giving Richard Arlen one of his finest opportunities at the head of a notable cast, the picture moves with lightning speed through a series of adventures which are at once hilarious, thrilling, and romantic. ‘ Three Live Ghosts ’ is a story of three soldiers—an American, a Cockney, and a titled Englishman “queer” from shell shock —who return from the war after ini prisonment in a German camp, to find themselves officially listed as “dead." For varying reasons they decide to re main hidden behind this official cloak of anonymity. Their adventures as they move through London as living dead men, without names or identity provide moments of hilarious comedy". ‘ Three Live Ghosts ’ has a London setting, and the story opens on Armistice Day, 1918, when three war-wearied soldiers, who have been reported as “ dead,” arrive hack in England after having escaped from a prison camp in Germany. One of the trio is a shellshocked officer, who is sufforiim from loss of memory and whose identity is »

mystery. H© is called “ Spoofy ” by bis companions, and ho has developed a distressing habit of “ stealing ” anythin" he can lay his hands on, greatly to the embarrassment of his friends. This failing results in all sorts of awkward situations, and is the source of much of the mirth in whicb_ the picture abounds. The other soldiers are a typical Cockney and an American, who had fled from his country believing he was “ wanted ” by the police and who had enlisted in the British Army under an assumed name'. The _ role of the American is played by Richard Arlen and thcut of the Cockney by Charles M'Naughton. “ Spoofy ” is portrayed by the inimitable Claude Allister, who never fails to raise a laugh. He makes a delightful English “ Johnny ” and in this new version of ‘ Three Live Ghosts 1 he‘surpasses all his previous achievements. As Mrs Gubbins, the Cockney’s mother, whose ambition in life is to„make “easy money,” Beryl Mercer is admirably cast. The supporting features are up to the usual high standard. NEW SCREEN TEAM SPENCER TRACY AND MYRNA I.OY AT MAYFAIR Romance, adventure, and comedy vie for supremacy in ‘ Whipsaw,’ the Metro-Goldwyn-Mayer feature starring Myrna Loy and Spencer Tracy, and which commenced to-day at the Mayfair. The picture marks the appearance of the stars together for the first time. Starting in London, the plot moves with lightning rapidity to New York, and is then brought to a successon of mid-western cities to a rural Missouri community, where it ends in a brilliant climax. It is described as one of the most thrilling pictures of recent years. The picture has a cast including Harvey Stephens, William Harrigan, Robert Warwick, Irene Franklin, and others. The supporting feature will be ‘ Hands Across the Table,’ featuring Carole Lombard in the role of manicure girl and Fred MacMurray as a penniless, engaging socialite. The story revolves around the efforts of Miss Lombard to fulfil a promise she makes to Mac Murray, society “ playboy,” that each shall marry for wealtli. An hilarious climax brings the film to an exciting finale. COMEDY AND DRAMA INTERMINGLED IN OCTAGON'S FARE Clack Gable and Constance Bennett, who need no introduction to local picturegoers, are co-starred in ‘ After Office Hours,’ which is the headliner on the new bill of fare at the Octagon Theatre. The other film on the programme is ‘One New York Night,’ which resembles the featured film in that the story contains' a delightfully entertaining mixture of comedy and drama. In ‘ After Office Hours ’ Gable is cast as Branch, managing editor of a newspaper, who always gets his story though it may moan resorting to the methods of the North-west Mounted. Constance Bennett is Sharon, the publisher’s “ socialite ” niece and Branch’s society reporter. Rich, smart, and independent, it is the kind of role on which the star has built her fame. Alternating between Park Avenue, Park Row, and a boathouse on Long Island Sound, where a murder is committed, the story deals with the attempt of the managing editor to uproot an imminent society scandal. He uses his “socialite” reporter as a wedge to enter forbidden sanctums, until she scents the ruse and rebels. When the scandal turns into a murder story, realistic drama enters. In the important role of Bannister, Harvey Stephens continues the good work he began with William Powell, and Myrna Loy in ‘ Evelyn Prentice.’ As Mrs Norwood, Sharon’s mother, Billie Burke is given ample opportunity to play the kind of “ jittery,” absentminded society matron characterisation in which she excels. Stuart Erwin brings all his talent in broad, comedy to play on the role of Parr, gum-chew-ing photographer for Branch, who is led a fast pace by his chief’s swift manceuvrings. Katharine Alexander, who recently appeared as Henrietta in ‘ The Barretts of Wimpolc Street,’ plays a role of straight drama as Mrs Patterson, neurotic millionaire wife of a dissipated husband, floury Travers, remembered vividly for his characterisation of the psychiatrist’s father in ■ Reunion in Vienna,’ appeal's as the veteran reporter, right-hand man to

Branch. Others in the cast are Hale Hamilton, Henry Armetta, Charles Richman, and Herbert Bunston. • One New York Night ’ provides many thrills and laughs. Concerning a murder committed im a modern metropolitan hotel, the story presents a unique cross-section of life seen in the various guests who become involved in the mysterious crime. The plot has to do with the disappearance of the dead man’s body, a stockbroker who was very much disliked A young cowman from Wyoming, a private secretary, a telephone operator, a Russian Countess, and many other guests find themselves directly mixed up in the unsavoury aifair. Franchot Tone, who has attained such widespread popularity as a romantic actor, portrays the role of the cowman who is visiting the big city in search for a brunette to marry. Una Merkel is' seen as a blonde telephone operator who joins forces with the cowman to clear certain suspicions directed at the Countess. How the crime is ultimately solved, and how Franchot Tone wins a blonde ■ instead of a dark-haired wife make an entertaining mystery-comedy. SPECTACULAR FILM ADAPTION 1 THE CRUSADES ’ AT LAURIER The magnificent and terrifying spectacle of tno armies of two worlds at battle; the colour, pageantry, and rustic beauty of the Middle Ages; the poignant romance of a king and queen whose love changed the course of world history—from these story elements Cecil B. de Millo created the plot of the most spectacular and daring picture he has ever produced, ‘ The Crusades,’ which is at the Laurier, Port Chalmers. Featuring Loretta Young and Henry Wilcoxon, with a supporting cast of over 100 name players, and thousands of extras, the picture recreates that magnificent period of the history when the combined armies of the kings of Europe followed the fanatical Peter on the crusade to wrest the Holy Land from the Saracens. Wilcoxon plays Richard the Lionheart, commander of the armies. Loretta Young is Berengaria, the girl he had to marry in_ order to secure supplies for his soldiers. lan Keith is cast as Saladin, and Katherine _de Mille, C. Aubrey Smith, Joseph Schildkraut, and Alan Hale are prominent in the supporting cast.