PICTURE THEATRES

Evening Star, Issue 22454, 26 September 1936, Page 20

PICTURE THEATRES

THE NEW PROGRAMMES SABATINI WELL PORTRAYED ' MARRIAGE OF CORRAL ' AT REGENT Tales of romance and adventure by Rafael Sabatini have proved in the past ideal for film purposes, and it was only natural that Capitol Films should turn to another of his stories as the basis of their latest production. Previous Sabatini stories have been given to us by the American film studios, but ‘ The Marriage of Corbal ’ is the first to oome from Britain. That, together with the fact that it boasts a strong cast of notable screen players, is excellently produced, and builds up to a most exciting climax, provides ample incentive for all lovers of the best types of motion pictures to attend the screenings at the Regent Theatre, where the film opened yesterday. ‘ The Marriage of Corbal ’ is the first British production of the famous Continental director, Karl Grune, and os a result is interesting for the skilful manner in which it is presented, as well as for the colour of its story. There is a clarity of detail about the film that makes it expressive,, while its drama is emphasised as much in the Betting as in the acting. It is to be commended not only for the colour of the story and the manner in which the atmosphere of the period it represents has been transferred to the screen, but also for some magnificent photography; In few films has such artistry been captured as is exhibited in the opening scenes illustrating the peace and contentment of the countryside about the estate of Corbal; Each is a cameo of beauty, and it is with the memory of these carried in the mind through the film that the great contrast of the film l is achieved. The shadow of the guillotine hangs over the picture as it hung over JFrance in the bloody days of the Revolution. In itself that gleaming, threatening blade gives drama to the picture—a drama that removes from the picture most of the little lightness with which it is embellished. The peasants and the revolutionary soldiery dance and sing their songs, but they do so rather with hysteria than with any real conveyance of lightness, of heart. Based on Rafael Sabatini’s story ‘ The Nuptials of Corbal ’ it is the story of a French countess who is saved from the guillotine by a young revolutionary, Deputy-Citizen Varennes, who falls in love with her. From him she escapes to the house of the Marquis de Corbal, handsome young humanitarian, who is so loved by his people that even the Revolutionary Tribunal hesitates to arrest him. From then on it is a picture in which the suspense is held to a fine point, with an ending that is surprising. Nils Asther gives a fine characterisation of the role of the revolutionary—a characterisation that must stand among his finest performances on the scvreen, and associated with him in the title roles are Hugh Sinclair, Noah Beery, and young Hazel Terry, a grand-niece of the great Ellen Terry. Miss Terry shows promise of developing with experience into a very capable actress. One of the finest roles of the film is, however, that _of Ernest Deutsch as the fugitive aristocrat. Interest in the programme does not centre alone on ‘ The Marriage of (Herbal.' There is more than ordinary entertainment to be found among the selection of short subjects screened, these including another instalment of the ‘ March of Time ’ series of pictorial journalism, dealing with life in Soviet Russia, Japan, and London, a Rathe variety _ film, an entertaining review of the British coal industry, and a gazette. In addition, at the evening sessions the Regent Orchestra plays a delightful programme of music selected by' the conductor, M. de Rose.

COLOURFUL DRAMA ‘ FRISCO KID ’ AT ST. JAMES One of the most dynamic and colourful dramas of the year. ‘ Frisco Kid,’ opened a season at the St. James Theatre yesterday, with James Cagney heading an all-star cast. Warner Bros, have produced a number of pictures with historical backgrounds and authentic, as well as outstanding, characters, such as ‘ Silver Dollar,’ “ I Am a Fugitive From a Chain Gang,’ ‘ Twenty Thousand Years in Sing Sing,’ and others. But none surpasses ‘ Frisco Kid ’ in the intensity of its action, in its exciting episodes, and in its colour. Set on the Barbary Coast of old San Francisco iii the early ’fifties, if is a story of the exciting gold rush days when adventurers from fhe world over congregated- on ’Frisco’s waterfront. There 'every conceivable form of vice flourished. Criminals, murderers, and every type of human “ shark ” who lived by preying on his neighbour congregated there. When a ship’s captain required a crew and men were hard to find, a band of cut-throats would knock out an innocent sailor, rob him of the money he had saved to prospect the goldfields, and attempt to “ shanghai ” him. The shanghai artists caught a tartar in one indomitable sailor, however, and after escaping from their net he shanghaied ” the very man who had knocked him out. Then, .in a terrific hand-to-hand battle, he slays the man’s partner with the sharpened iron hook of the latter’s own false arm. James Cagney has the most powerful role of his screen career as this sailor, a crude, ignorant, but dominating character with a driving force and a magnetism that not only win his battles with members of the underworld, but eventually the love of a beautiful and talented woman whose path is set in a very different world from that of the former sailor. Cagney gives a sterling performance, making this character a living and vital human figure on the screen. Margaret Lindsay, as the girl, gives a fine and artistic portrayal. Ricardo Cortez is outstanding in his characterisation of an underworld gambler who rises to power by throwing in his lot with the sailor, but is eventually disposed of by the hangman’s noose of the vigilantes. Lili Damita, the exotic screen beauty, gives a fine portrayal as the gambler’s wife, and ■ others who give excellent performances in important parts are Donald Woods, in the juvenile role; Barton Mac Lane, as a resort keeper; George E. Stone, as the second-hand clothing dealer who was the ’Frisco Kid’s greatest friend; Joseph King, as the city’s political “ boss ” ; Robert M‘Wade, as the judge; Joseph Crehan, as a bartender; and Joseph Sawyers and Fred Kohler. # Lloyd Baron has made an excellent job of the direction, skilfully building up one thrilling event into another to a climax that is outstanding. The spirit of the day, with its strife and colour, have been caught by the authors, Warren Duff and Seton I. Miller, and painted with a sure and glamorous touch. The supporting programme" is most entertaining and of a highly diversified nature. ‘ Some Class ’ is a novel burlesque, ‘ Tickets, Please,’ is an excellent musical, a cartoon and a gazette completing the outstanding bill of fare. The programme will bo shown tonight and during next week. POPULAR MUSICAL ADVENTURE ‘ NAUGHTY MARIETTA ’ RETURNS TO HIS MAJESTY’S One of the most popular pictures ever made, ‘ Naughtv Marietta,’ is being re-presented to Dunedin film-goers this week, having a special return season at His Majesty’s. From the increased patronage it has been accorded during repent seasons in other towns, it is confidently expected that it will have equally as great a reception this week as it received at its initial season in this city. The picture is set in the' days of Louis XV. Those were the days when kings were kings, and wielded the same authority os the gangsters of

to-day, arid when' rriaids were maids and proud of it. Marietta is a princess who is ordered by the King to marry Don Carlos, a rather antiquated person. However, Marietta _ cannot bear the sight of him. Exporting girls to the American colony of Louisiana .was one of France’s enterprises at the time, so to escape Don Carlos Marietta has herself exported to Louisiana in a shipment of girls. On arrival she meets Dick Warrington, a dashing young guide and trapper, who has no idea that the young lady is a princess. Not to be outdone, Don Carlos follows to America armed with a warrant from the King to bring her back to her own country, but rather than become a Spanish grandee Marietta goes off into the wilds with Dick. That, in brief, is the trend of the story. Some of the outstanding scenes are the departure of the shipload of girls _ from France, the capture of the ship by pirates, who are only prevented from broaching the cargo by the arrival of Dick Warrington and his men, and the march of Dick’s men through the jungle to the stirring strains of a rousing song. The role of Marietta is taken by that captivating artist,_ Jeanette MacDonald, whose personality is given full play in many sequences. _ Everyone knows how Jeanette can sing, and so everyone will be pleased to know that her singing voice is in good trim in this film. A new figure to the screen is Nelson Eddy. He has a clear and powerful tenor voice, and when he and the leading female star are heard in duets the result is particularly pleasing. There is one scene towards the end of the film at a ball given by the Governor, where Marietta and Dick think they are parting for ever. In this they unite their voices in an excellent effort. FAMOUS FILM TRIO GABLE, HARLOW. LOY AT EMPIRE When two such fascinating women as Myrna Loy and) Jean Harlow fall in love with the same man, and that man is Clark Gable, a situation is created which even the brightest of Hollywood young l men would _ have difficulty in unravelling. Yet this difficult problem is solved neatly in ‘ Wife Versus Secretary,’ the Metro-Goldwyn-Mayer comedy drama, which opened its Dunedin season to large audiences at the Empire Theatre yesterday. Myrna Loy has a part somewhat reminiscent of that she filled so capably in ‘ The Thin Man.’ Once again she is the effervescent young wife in love with her husband, once again she delights the audience with polished dialogue, and once again she shows how well she is suited to portraying a, millionaire’s wife. The millionaire in this instance is the boyish Clark Gable, cast as a highly successful magazine publisher. Although he is deeply in love with his wife, he is dependent on his young secretary, but untij malicious tongues start asking why ho find's it necessary to employ anyone so beautiful, he does not realise that she may upset his marriage. As the third party in this remarkable triangle, Miss Harlow has a part quite unlike those in which she has been cast in the past, and shows that she is quite as well adapted to playing the efficient secretary as the more sophisticated parts to which she is accustomed. The lesser roles are admirably played by such accomplished players as May Robson, who gives a splendid portrayal as an understanding mother; Janies Stewart, as Jean Harlow’s “poor, but honest,” lover; Hobart Cavanaugh, George Barbier, and Gilbert Emery. The film is notable for its quick changes of scene, and women patrons will be delighted with the frocking. Much of the success of the production is due to the capable direction of the director, Clarence Brown, who will he remembered for ‘ Ah, Wilderness ’ and ‘ Anna Karenina.’ Several clever touches mark his work. The supporting programme includes another of the ‘ Crime Does Not Pay ’ series, ‘ A Thrill for Thelma,’ which deals with the career of a woman who is foolishly led into, crime. There is also a bright comedy, ‘ How to Behave,’ and a wide selection of newsreels.

MUSIC AND COMEDY

STRAND’S HEW ATTRACTION A rollicking romance is interwoven with a laughable story of two carefree lads and a lovely girl in ‘ Don’t Get Personal,’ which commenced at the Strand Theatre yesterday. Sally Eilers is seen as the impetuous girl; Jimmy Dunn and Pinky Tomlin are the roving modern youths, owners of the car known as “ Lizzie the Fourteenth.” Parts of 13 other cars were used in creating Lizzie. Jimmy Dunn and Sally Eilers, who became famous in * Bad Girl ’ _ with roles which won them motion picture academy awards, give a breezy, natural performance in ‘ Don’t Get Personal.’ They win the interest of the audience and then go on to convulse it with their smart repartee. The film was ably directed by William Nigh. Besides the rich humour of the situations and the lines, the picture offers music of the most catchy sort. There are two numbers sung by “ Pinky ” Tomlin, ‘ I Won’t Take No for An Answer.’ and ‘ Barnyard Serenade.’ “ Pinky ” wrote these selections especially for the production. He will be recalled as the composer of another song success, ‘ Object of My Affections.’ The fun begins at the outset, when two young men offer their services at public auction. A maiden lady of determined appearance is about to take them over with a bid of either two hearts or two dollars, when Sally doubles the bid and wins. Then the trio start to tour the country to bring Sally to her home, which' the boys learn, after closing the deal, is 1,009 miles away. The situations become more hilarious as the complications increase and work up to a striking climax. On the same programme is ‘My Song Goes Round the World,’ featuring the tenor, Joseph Schmidt. The picture tells the story of three musicians in their attempt to find work in Venice the ups and downs they experience in their wanderings. EXTENDED SEASON ASTAIRE-ROGERS TEAM AT STATE The amazing popularity of ‘ Followthe Fleet ’ made it necessary for the management of the State to make arrangements for a further extension of the season, and the film is now being screened for another week. Beginning o.n 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 Martin, 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 Jove never rune 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 Miss 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 ‘ We 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 kettledrum 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 Rogers are primarily dancers. Their last two pictures have shown a marked development in. their ability as comedians, too, and this one is certainly no exception. The short associate bill is good. MUSICAL COMEDY BILL POPULAR JESSIE MATTHEWS AT OCTAGON Two musical comedies of unusual merit constitute the Octagon’s new bill, which opened a season yesterday. Jessie Matthews has the lead in the first picture, 1 First' a Girl,’ and Nino Martini the principal role in 1 Here’s to Romance.’ The first is noted for the skilful versatility, ingenious humour, and winning personality of Miss Matthews. Original in plot and splendidly directed, the play provides all that is expected of a first-rate show, the treatment accorded by the principal and her associaties maintaining an entertainment standard that should satisfy everyone. Miss Matthews appears as a young lady who deputises for a female impersonator whose voice fails on the very day he secures a long-sought engagement. So successfully does she do this that it becomes necessary for the deception to continue. Embarrassments fall thickly on the conspirators as a consequence. The theme presents Miss Matthews with abundant opportunity to display her ability for comedy, to which is added the chance to sing melodious songs and to perform, in her own agile style, an intricate dance or two. The role, in fact, seems to have been made for her, and she turns all the advantages to excellent account. Sonnie Hale’s capacity to make “ the show ” go, the verve of his acting, his sparkling wit, burlesque, and dancing have never been used to better advantage. Much of the comedy of the picture is located on the French Riviera, and here is the background of a water scene in which Jessie Matthews performs with Griffiths Jones, a tall Welshman, who does his part well. The gems of the picture are a bedroom scene, hilariously funny, in which the three principals draw lots for a single bed, and a brilliant impersonation by Sonnie Hale of a musical comedy actress. Few screen stars have succeeded in provoking so much laughter wthout making themselves look ridiculous. Plot is of only secondary importance in a picture of this class, but it is there, skilfully developed and worked out to an entirely satisfying conclusion. In ‘ Here’s To Romance,’ Nino Martini turns to another field in the effort to popularise opera with motion picture audiences. The score of the new picture features operatic _ selections from the works of Mascagni, Leoncavallo, and Massenet, in addition to two new popular songs, with music by Con Conrad, creator of ‘ Continental.’ The supporting cast of the picture also includes Genevieve Tobin, Anita Louise, and Madame Ernestine SchumannHeink, equally famous for her accomplishments in the concert field. I CHARLIE CHAN FAMOUS DETECTIVE IN NEW THRILLER AT GRAND One of the greatest characters of detective thrillers, Charlie Chan, is featured at the Grand this week in ‘Charlie Chan at the Circus.’ This film is as convincing and exciting as any of its predecessors and it brings Warner Oland to the screen in his most famous characterisation. Further, the members of Chan’s family are enlisted in the unravelling of one of the most tangled plots ever presented to the master detective. One murderous attempt after another terrorises an entire circus troupe, and even Charlie Chan himself is momentarily baffled by the criminal mihds who plot bis death. All the thrills of the circus have been cleverly incorporated, with the result that, in addition to the excellent

mystery story', _ the attractions of the saVdust ring give a secondary interest. In the supporting cast is Keye Luke, who, in the role of Chan’s son, proves of valuable assistance in aiding the detective. Others prominent in the cast are Francis Ford, Maxine Reiner, and John M'Guire. The supporting programme includes a comedy, ‘ Way Down Yonder,’ featuring the Cabin Kids; ‘ Doggone Babies,’ another comedy; ‘ Hongkong Highlights,’ an attractive travelogue; and a Fox newsreel. 1 EXCELLENT COMEDY ‘ AH WILDERNESS • AND • THE NITWITS 1 AT MAYFAIR Delightful entertainment is presented in ‘ Ah, Wilderness 1’ the film version of Eugene O’Neill’s famous play, which commenced at the» Mayfair to-day. In this production O’Neill, author of * Anna Christie ’ and ‘ Strange Interlude,’ tells a, straightforward tale of the follies of the young and the tolerance of the middle-aged, depicted with insight and kindly humour. The film discusses youth’s revolt against orthodoxy in the later years of adolescence. On the eve of his departure from high school, Richard Miller, chosen to make a farewell speech on behalf of the pupils, dreamed of delivering an address which would revolutionise society. lie walked about with a dream in his eyes, quoted impassioned lines from Swinburn, Omar Khayyam, and. Bernard Shaw, and confided to his sweetheart that he had been horn 100 years before his time. The high school concert, with its bad _ recitations and its tuneless singing, is acted with a solemnity which makes for superb comedy. But the film is not all burlesque, for there are many moof real pathos, and the story is told with feeling and restraint. Much depends on the actors, who play their parts splendidly. Lionel Barrymore makes a most sympathetic father of a family, Wallace Beery is exceedingly funny as a seldom-sober uncle, and Eric Linden gives a sensitive and moving portrayal of youth in revolt. Aline MacMahon again shows what an excellent character actress she _ is in her depiction of self-imposed spinsterhood. ‘’The Nitwits,’ a Wheeler and Woolsey comedy, will be in support of the main feature. FINE BRITISH PRODUCTION ‘ NEtL GWYN 1 AT THE LAURIER ‘ Nell Gwyn,’ which is to have a special presentation at the Laurier today, must rank as one of the most ambitious pictures ever produced by a British company, a more-than-worthy example of the super, pictures now being made in England on a scale which pessimists never considered possible. From every standpoint ‘ Nell Gwyn can claim parity with Hollywood’s best, as its reception in both London and New York have conclusively proved. Particularly the critics have been impressed with Anna Neagle’s perform ance in the name part; an Anna Neagle so different from her _ previous portrayals that her amazing versatility throws into prominence the fact that many famous stars can only play one type of role. Miss Neagle’s previous work has been marked by restraint, but she makes Nell Gwyn a character full of outspoken effrontery and devilment, holding the attention of Charles 11. by giving full rein to her brazen high spirits and unlimited vitality. Charles 11., a “ merry monarch ” whe kept his head hnd his throne for 25 years and died in bed, is played by Sir Cedric Hardwicke, who has never undertaken a film role more suited to his talents.

STRATTON-PORTER ADAPTION ‘LADDIE ’ A FINE SCREEN ROMANCE Out’ of the most appealing of fictional triangles, ‘ Laddie,’ at the Municipal, Green Island, an R.K.O. Radio picture based on the world-famous Gene Stratton-Porter novel; builds what is said to be one of the finest of screen romances. Mrs StrattonPorter wove so deftly the human sympathy and drama into ‘ Laddie ’ that the novel is listed among the 10 best sellers of the last 60 years. And it comes to the screen with all the charm of her literary genius intact. Laddie, a son of the soil, college-bred, but preferring to follow in his father’s footsteps- as a farmer, meets the “ Princess,” an English girl of noble family. Her father symbolises the blue-blood social level. It is a tremendous battle of, for, and by love that ensues; with dramatic situations interwoven in the sub-plot and the humour threads. It is tribute to the power of the story that it has 40,000,000 readers all oyer the world to-day; and R.K.O. Radio, makers of ‘ Little Women ’ and ‘ Anne of Green Gables,’ spared nothing to give similar distinction to the photoplay wrought out of the classic novel. John Beal has the title role and Gloria Stuart is the “ Princess.” Other important roles are in the hands of Gloria Shea, Charlotte Henry, Donald Crisp, Willard Robertson, Dorothy Peterson, Greta Meyer, Grady Sutton, Virginia Weidler, and Jimmy Butler. George Stevens directed for R.K.O. Radio.