AMUSEMENTS

Gisborne Herald, Volume LXVI, Issue 20078, 26 October 1939, Page 3

AMUSEMENTS

KING’S THEATRE “INSPECTOR, HORNLEICII”: LAST DAY Guaranteed to keep any audience :n suspense until its last moment. "Inspector Hornleigh, which eludes at the King’s Theatre to-night, provides exciting and dramatic cnlei - tainment. It portrays a refreshingly “different" kind of detective, who always gets his man. sometimes by the most ingenious methods. Twcntietn Century-Fox could not have picked two better men to fill the leading lolo.v than Gordon ITnrker and Alastair dim. both of whom are popular who Gisborne “fans.” Marker portrays Hornleigh as a somewhat morose, but nevertheless clever detective, uto solves an intricate case with the aid ot his simple-minded, unobtrusive assistant. played by Alastair Sim. who never fails to bring a laugh. “Bachelor Mother": Riotous Comedy To-monovv — Heralded by advance preview reports as one of the season s most sprightly and original comedy romances, “Bachelor Mother makes its debut at the King’s Theatre tomorrow with Ginger Rogers and David Niven in the stellar leads. Miss 'Rogers in the role of a department store salcs-girl displays her flair tor comedy which she recently employed in “Vivacious Lady" and "Stage Door." Niven's characterisation as an adamant store executive is a refreshing departure from his roles m “Wuthering Heights" and "Dawn Patrol.” A hilarious mix-up over a baby forms the axis about whicn "Bachelor Mother" revolves. Holding a temporary job in tire store during the Christmas rush, Miss Rogers-i-on her lunch hour—finds an infant on the steps of a foundling home, and is instantly mistaken for the child's mother. The more Ginger protests-the more she is disbelieved, and the home authorities report the matter to the store executives. Niven, a vice-presi-dent and the son of the stores ownei. investigates for himself and he. too, is convinced that Ginger is the mothei. He immediately shifts her lo the permanent staff and gives her a ic.ise. This only infuriates Ginger, who is at her wits end to shift the care of the child to others. Horrified, Niven lectures her, and under threat of diie consequences forces iicr to bring up the youngster. But his interest in the girl arouses the jealousy of a young stock clerk in the store, who anonymously misinforms Nivens l’athei, Charles Coburn, that Niven is responsible for Miss Rogers’ child. Coburn, anxious that ills son shall marry and settle down, is greatly interested in the report. He shadows Niven, anc! concludes that his report is true. The situation becomes even more hectic when both Miss Rogers and Niven learn that Coburn is planning to adopt the child as his grandson! What happens from here on is a series of mirth-packed complications, developing the film into one of the season’s most entertaining offerings. A big supporting programme includes Walt Disney’s latest coloured cartoon. “The Practical Pig”; "Western Welcome." a Technicolour musical; "World of Tomorrow.” which features the New,York World Fair: Pathe Overseas News, and the Fox Aussie News, which includes New Zealand s preparations for war, the American Fleet sailing for the Pacific, and the passing of the famous Maori prophet, Ratana. The box plans are filling rapidly.

REGENT THEATRE

LAST DAY: “STORM OVER BENGAL.”

"Storm Over Bengal,” the actionpacked romance of the Bengal Lancers. which cuds to-night at the Regent Theatre, c. : corns the rebellion’of fanatical tribesmen against the British Army in this outpost, of Empire and skilfully interwoven among the thrill; and action is the romance of two brothers —army ollicors —for the girl who is betrothed jo the elder. Gallic Knowles and Richard Cromwell arc the brothers, lovely Rochelle Hudson, the girl. Douglas Dumbrdie is the villainous Rahman Khan, who leads the rebellion of the hill tribes, 'o in Tnplcy, the New Zealander, is in the strong cast.

—To-morrow: N.Z. Premiere, Charles Laughton in “Jamaica-Inn.” —

The story of "Jamaica Inn" which begins at the Regent Theatre to-mor-row, has been composed for fife screen by a number of well-accredited writers, including Daphne Du Maurier and J. B. Priestley. Not their work, though, but two other things, give the film its great dramatic impact, One is the direction of Alfred Hitchcock, who sends Cornish tempests surging through the narrative with bleak and imaginative splendour. The other is Charles Laughton’s brilliant charac-ter-study of a sensual rapscallion in the time of King George IV. Laughton revels in personalities which are earthly and full-blooded, and tinged with a gloating madness. Witness Dr. Moreau; the husband in ‘‘The Devil and the Deep," and the gaily inimitable “Henry VIII.” Laughton can take a melodramatic villain; made him rollicking where another actor would have given him a sinister turn: and fill the whole part with irregular gusts of eccentricity and energy. That is precisely what happens with Sir Humphrey Pengallon in "Jamaica Inn.” This old creature was once an intimate of the King. Now he inhabits a mansion in the wastes of Cornwall, where he lives on the plunder obtained by a gang of wreckers. By means of false signals, they lure sailing ships on to the rocks; kill the crews; and seize tiie cargo. That seems a sordid enough occupation for a Cornish squire, but there is more in. (he character than meets the eye. For Sir Humphrey has a passion for beauty. I-lis share of ihe loot from ships gives him aesthentic pleasure, as well as financial security. He fingers the costfly silks, the exquisitely chased lamps, /the dainty figurines, with the touch of a lover. Hjr: is where the towering talents of Laughton come in. He makes this pursui'. of loveliness, not a thing apart in Sir Humphrey's existence; but a mania, which colours (very movement the outrageous old baronet makes. L is a mania which visibly grows and spreads, and urges the man forward with a more and more■ imperious urge. When, at the last, the heroine implores Sir Humphrey's pursuers rot tc shoot him. because ho s rot responsible for what lie has done, that reflects the feelings ,ff the at dienoe. There is something grand about a character possessed by such colossal craziness. Sir Humphrey's swaggering -manners, his exaggerat'd chivalry, his immense capacity for bluff and hypocrisy, make him a vastly amusing rogue; and, like Falsi.iff. Me dies amid in iversal respect. Alfred Hitchcock knows as well as anyone the changes in tempo, the periods if suspense, :ho hairbreadth, escapes, which give ;■ me'odraim lusty quality. In "Jamaica Inn” he sets the surf renting and raging with almost frightening intensity. Again