AMUSEMENTS

Gisborne Herald, Volume LXVI, Issue 20056, 30 September 1939, Page 3

AMUSEMENTS

MAJESTIC THEATRE “THU LADY’S FROM KENTUCKY” AND “SWEET DEVIL’’ An excellent programme which attracted large audieiircs to the Majestic Theatre , yesterday is headed by "The Lady's From Kentucky," with George Ha ft, a new-comer Ellen Drew, and those perennial merry-makers, Hugh Herbert and Zasu Pitts. The story is about a gambler who is so fond of gambling that he even sells his blood- for a transfusion of course, so that lie can .shoot craps, play cards and finally shoot the works on a slow horse. Looking through his belongings for something to pawn he comes across an old bill of sale entitling him to half an interest in a thoroughbred colt. He is all ready to sell the deed, but lie changes his mind when lie I sees the horse win his debut race. Raft figures he is in clover. He has found four horseshoes that, bring in the money but his partner disillusions him when she tells him that though the eolt is speedy they will have to wait until he matures, for if they race him too early the horse would be finished. Ellen Drew turns in a tine .performance as Rail’s horse racing partner. George Raft gives another winning performance as the belting-mad gambler. Adroit comedy relief is supplied by Hugh Herbert and Znsu Pitts. ' The associate feature, a Jack Buchanan production, "Sweet Devil," leaves little out that could possibly beguile the popular fancy and in the lighthearted mixture of farce, slapstick, delicate alcoholic whoopee and romantic comedy, it is certainly a considerable laughter banquet. Furthermore, the frolic has the seasoned antics of Bobby I-lovves and his irresistibly comic features, and an infectiously gay performance by Jean Gillie in the title-role. An added attraction is the seventh chapter of "Buck Rogers.”

KING’S THEATRE

“THE STORY OF VERNON AND IRENE CASTLE” Adhering closely to the real-life story of Vernon and Irene Castle, a world-famous dancing team of . a quarter of a century ago, Fred Astaire and Ginger Rogers’ new starring vehicle, ‘The Story of Vernon and Irene Castle," now showing at the King’s Theatre, is reported to be the finest musical -film of recent years and the greatest of all the pictures in which .hese two favourites have teamed. The story opens with Vernoh Castle's early career as a knockabout _ comedian with Lew Fields, and his first meeting with the then Irene Foote, who persuaded him to give up cheap comedy in favour of: dancing. How the two married on the proverbial shoestring, went to Paris and nearlj starved before they got a start as a team, is revealed in delightful fashion. Their meteoric rise to lame in dance engagements which took them across two continents until their reputation was established as the outstanding dance duo of their time; the breaking up of the team when Vernon enlisted with the British Forces on the outbreak of the Great War; and his untimely death in an air crash, are the main ingredients in a story which is depicted in impressive and tuneful fashion. Ideally suited to portray the roles of their noted terpsichorean predecessors. Astaire and Miss Rogers Interpret many ,of the dances that the Castles created and made famous. There is a good supporting programme.

REGENT THEATRE

“CALLING DR. KILDARE” ' Highly popular entertainment is provided at the Regent Theatre in'the new programme 'featuring “Calling Dr. Kildare” as the highlight ol a presentation which includes , also news and specialty shorts of an unusually interesting nature. An ingenious Pete Smith study. “Penny’s Picnic.” and a spectacular and informative feature film, “Giant of Norway,” are two notable contributions to the supporting programme, while the main picture has all the attractive elements of the original story of young Dr. Kildare, with the addition of dramatic ana mvsterv features. The charm with which 'Lew Ayres invested the life and responsibilities of a young surgeon in “Young* Dr. Kildare” is intensified in this sequel, in which the surgeon is shown taking his responsibilities with the greatest earnestness, to the point of conflict with the law in his regard for human life and justice. Even more thrilling than in the original study are the situations into which the young doctor's scruples ot fairness involve him as apparently one who has taken sides against those who are working in defence of society. Called, unsuspectingly, to treat a victim of a gangster bullet, he is plunged into the heart of a criminal mystery and comes under the suspicion of the authorities. In self-defence he is forced to unravel the crime, m the course of which he falls in love, only to be disillusioned when his medical patron. Dr. Gillespie, working on the human angle of the crime, brings to light a callous double-crossing motive in which the girl in the case is shown up as worthless. Tense drama and'intermittent comedy chase each oihei in entertaining fashion throughout the story, which is highly emotional m places. As in the earlier story, Lionel Barrymore in the role of Dr. Gillespie is a dominating figure by reason his humorous and caustic style o. putting medical internes through their training, and the Spartan tests which he imposes on his favourite tiainc.e. Romance plays quite a large part in the action, 'With the charming Laraine Day once again winning all hearts by her loyalty and allure, and Lana Turner capturing the admiration ol the minds, if not the hearts, ot hci in a dramatis “vamp role.