PICTURE THEATRES

Evening Star, Issue 22459, 2 October 1936, Page 13

PICTURE THEATRES

REGENT Produced on a magnificent scale, H. G. Wells’s ‘ Things to Come ’ is without doubt one of the most spectacular films ever made. The film was exceedingly popular in the northern cities, and at the Regent this week it will be assured of further success. It is a marvel of technical achievement, and an equal triumph for the author and! for the producer, Alexander Korda. Harrowing scenes of warfare, the destruction of the world as we know it toHiay, and the reconstruction of an amazing new one are unfolded with outstanding dramatic impressiveness. The story opens at Christmas time in Kver.vtown, a typical prosperous city in 1940. Newspaper placards scream warning messages of impending war, but the populace carries on its shopping and merrymaking. Suddenly, without warning, the city is bombed and totally destroyed. War lingers on till 1970. By then everything is in disorder and a dread disease known as wandering sickness breaks out. This is checked by the “ Boss,” who orders all sufferers to he shot. Industrial production is at a standstill, and the people have returned to a primitive Hie. Sporadic warfare is carried on by illequipped bands of men. Into this ruined city flies a man with a new typo of aeroplane. He is the chief of the Airmen, a group of idealists, who arc determined to. put an end to hostilities. A squadron of giant aeroplanes follows and bombs the ruined city with harmless gas bombs, which send the people to sleep. The film ends on a note of uncertainty about the future. EMPIRE The clowning of Laurel Hardy and the music of Balfe in ‘ The Bohemian Girl,’ which commenced to-day at the Empire, in conjunction with ‘ The Hit-and-run Driver,’ make firstclass entertainment. Those who are familiar with the opera will find that only the outline of the story and the songs are loft in the picture version, but that has been done with the obvious purpose of giving the utmost scope for the two comedians, and' so clever is their work that one is more than willing to let Hollywood’s handling of the story go without criticism. In any case, Balfe’s opera is inclined to the dramatic, and has almost morbid touches —poor fare for theatregoers these days. The pleasant music of the opera—its most captivating feature —has, however, been retained, and that is more than sufficient compensation for the alterations to its story. Indeed, for its music, the picture is almost as outstanding as for its comedy. It lacks the name of any famous singer; but there is some magnificent singing by the choruses, and one or two very fine pieces of solo work. The story is not lacking in dramatic quality, very neatly contrasted with the humour. At no stage is the buffoonery of Laurel and 1 Hardy continued too long, and the contrasts have made the picture, the more effective. The story—about a baby princess who is kidnapped by Hardy’s flighty wife and left in the care of the comedians—is comparatively unimportant, but it offers the comedians ample scope and gives the picture an uproariously funny ending. STATE Beginning on a battleship, shifting to a San Francisco waterfront dance hall, and then to a society function on Nob Hill, ‘ Follow the Fleet,’ in an extended season at the State this week, 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 Soott plan to sail to distant honeymoon ports. It could truthfully he 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 1 Follow the Fleet ’ rises to the top standard in screen musical comedy. The story illustrates the old saying, “ The course of true lovo never runs smooth,” but innumerable complexities arise from the fact that both the men whose love stories arc followed (Fred Astaire and Randolph Scott) arc sailors. Full opportunity is therefore taken for witty repartee, for which Astaire is famous, and several dances are introduced in appropriate places. The opposite loads 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 ‘ Wc 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.

STRAND Produced by the company which has been responsible for some of the best musical films seen in New Zealand, including the memorable ‘ Broadway Melody ’ and ‘ Gold Diggers of Broadway,’ the Warner Brothers’ picture, ‘ Stars Over Broadway,’ which heads the entertaining double-feature programme at the Strand, admirably maintains the high standard set by their previous productions. There are many spectacular dance numbers, and the songs. have the same tuneful quality which has been a notable feature in previous films of the same type. Pat O’Brien heads a talented oast, which includes two radio celebrities, James Melton and Jane Froman, while Frank M'Hugh is responsible for much of the humour. The songs include ‘ You Let Me Down,’ a torch number; ‘ Where Am T?’ a ballad; and a character novelty, ‘ At Your Service, Madame.’ Jane jFromau, who recently was named the most popular singer of modern songs in a poll conducted by radio editors of the United States and Canada, will introduce ‘ You Let Me Down.’ In productions staged by Bobby Connolly, brilliant dance director, she will sing ‘ At Yonr Service, Madame,’ with James Melton, the famous radio singer, who makes his screen debut in this film. Established a., one of the most enjoyable of all the Harold Bell_ Wright screen stories, ‘ The Mino With the Iron Door,’ which is in support, has Richard Arlen. Cecilia Parker. Stanley Fields, Henry B. Walthall, and Spencer Charters sprominent in the cast. GRAND. The drama, ‘ Two in the Dark,’ which is the main feature at the Grand, has an unusually strong plot to recommend it. From the opening scene to the last the story is tense, as is always the case when the hero is under suspicion, and it is impossible to tell whether he is the guilty party or not. Walter Abel, the leading player, finds himself in a dazed condition on a foggy night, reeling about a park with blood trickling from his forehead. How he came to bo in such a plight is as much a mystery to him as it is to a girl sitting near by (Margot Grnhame). Unwittingly she stumbles upon evidence which establishes his connection with a particularly brutal crime, but, already half in love with this stranger, she unhesitatingly takes his side. The outlook grows black for this pair, strangely brought together in his hour of need, hut at last his innocence is established and there is no longer any bar to their happiness. The exceptionally strong cast includes, in addition to the principals, Wallace Ford, Alan Halo, Gail Patrick, Erik Rhodes, Leslie Fenton, and Eric Blore, as yet another butler. The other picture is ‘ Here Comes Trouble,’ a breezy romantic comedy built up round what appears to be a jewel robbery, but which proves to be a clever plan to catch two highly expert thieves. There is as much humour as drama in an entertaining story, most of tho fun being caused by the scrapes into which Paul Kelly is drawn through his disagreements with his pretty sweetheart, played by Arline Judge. ST. JAMES Charming Maiden Davies, America’s outstanding motion picture star, appears at the St. James to-day in ‘ Pago Miss Glory,’ her first Cosmopolitan picture to bo released by Warner Bros. Supporting Miss Davies is a remarkable all-star cast of famous “ name players,” including Dick Powell, Pat O’Brien, Mary Aster, Frank M‘Hugh, Lyle Talbot, Patsy Kelly, Barton Maclane, Allen Jenkins, Hobart Cavanagh, and a score of others. ‘ Page Miss Glory ’ was a big hit on the Broadway stage; there are several catchy new songs written by Hollywood’s leading team of hit writers, Warren and Dubin. A new song bearing the title ‘ Page Miss Glory ’ is sung as a duet by Miss Davies and Dick Powell. The story of ‘ Page Miss Glory ’ is us funny as it is unique. Miss Davies, in the role of a country girl, neither pretty nor bright, gets a job as chambermaid in a “ swanky ” New York hotel, in which reside a promoter, portrayed by Pat O’Brien, who has nothing to promote, and Frank MTlugh, a jobless newspaper reporter-photographer. _ M'Hugli, learning that an advertiser is offering a big cash reward for a photograph of America’s prettiest girl, makes a composite picture, blending the features of famous stage and society beauties, and submits it under the name of Dawn Glory. He wins the prize, and trouble starts. A Dawn Glory craze sweeps the country, and even Miss Davies falls for it with startling results. Properly attired and “ made up,” she becomes the incarnation of Dawn Glory, but all she wants to be is the sweetheart of Dick Powell. MAYFAIR A poignantly dramatic story, brilliantly portrayed by Merle Oberon, Frederic March, and Herbert Marshall, is ‘ Tho Dark Angel,’ which is the current attraction on the programme at tho Mayfair. March and Marshall are seen as two close friends from boyhood, Alan and Gerald, both of whom aro in love with Kitty (Merle Oberon). The war takes both boys, and in the trenches Alan comes to a realisation of his love for Kitty. Others prominent in the cast include Janet Bcechcr, John Halliday, Henrietta Crossman, Frieda Inescourt, Claude Allistev, Goorgic Brenkstoii, David Torrence, Cora Sue Collins, and Fay Chaldecot. • THE WHITE PARADE.’ An absorbing and human story of the nursing profession forms the theme for ‘ The White Parade,’ which will he commenced at tho Mayfair tomorrow. It deals with the duties of probationer nurses in the early days of their training. Many people are introduced for tho first time to what the young nursing student has to learn in tho process of becoming efficient in her work, and the picture has no small educational value from this point of view. Loretta Young and John Boles aro in tho loading roles, Miss Young as probationer and he as a leading American polo player. In order to cure the homesickness of a fellowprobationer Miss Young alleges that she is the _ sweetheart of the polo artist, and is upset to be torn apart from him by her work. The ruse works, but tho rumour spreads and she is obliged to keep up the pretence. HIS MAJESTY’S THEATRE r fho film version of Victor Herbert’s delightful operetta ‘ Naughty Marietta ’ has proved to ho the most popular picture in Dunedin for many years, and since it was first screened here over a year ago, it has had several return seasons of a particularly successful nature. That it still holds charms for tho picture-going public is shown by the fad that His Majesty’s Theatre, where it is at present being screened again, is being well patronised. The lovely soprano voice of the beautiful Jeanette MacDonald has never been heard to better advantage, while Nelson Eddy, who became famous overnight through his perfonmnico in 1 Naughty Marietta.’ is an instant, success,'demonstrating the

rango and power of a great baritone. Together they sing their delightful way through the lilting Herbert score, which has been preserved in its entirety by the director, W. S. Van Dyke. Two of the most beautiful voices ever recorded in a studio, stirring music, a romantic story, an astounding range of settings as well as some thrilling scenes, neat comedy, and an excellent cast, combine to present screen operetta at its_ best. Many popular songs are included in the score, of which the moving ‘ Ah, Sweet Mystery of Life ’ is typical. The comedy is in the capable hands of Frank Morgan and Elsa Lanchester. The supporting programme is a strong one. OCTAGON William Powell and Ginger Rogers, in RKO-Radio’s ‘ Star of Midnight,’ bring to the screen perhaps the best of the modern mystery dramas, at the Octagon to-day. It is strong in story value, brilliantly enacted, expertly directed, and handsomely mounted. Sparkling dialogue adds greatly to its thoroughly - rounded entertainment. Powell, as Clay Dalzell, a brilliant attorney, who is drawn into the solution of a perplexing mystery; and Miss Rogers, as Donna Martin, a wilful society beauty, who knows the man she wants to marry and how to get him, are seen at their best. Outstanding support is accorded by a versatile cast, which includes Ralph Morgan, Gene Lockhart, Leslie Fenton, Paul Kelly, J. Farrell MacDonald, Russell Hopton, and Vivain Oakland. _ Under Stephen Roberts’s skilful direction, characterisations and action unfold with brilliance. The story centres about the disappearance of Alice Markham, and the sinister complications which ensue. The missing Alice is discovered to be Max-y Smith, masked star of a New York revue; but just as her identity is learned she vanishes again. Tommy Tennant, a newspaper x-eporter, who is hot on the trail of the story, is killed in Dalzell’s apartment, and what was just a confounding xnystery becomes a murder case, with lives and liberties at stake. 1 Hooray For Love,’ the accompanying attraction, brings an entirely now and entertaining treatment of the theatrical story to the screen. _ The show within a show includes specialties by Bill Robinson and Jeni LeGon, dusky dancers, Maria Gambarelli, and “ Fats ” Waller. The cast, headed by Ann Sothern and Gene Raymond, includes Pert Kelton, Thurston Hall, Georgia Caine, Lionel Stander, and others.