ENTERTAINMENTS

Manawatu Standard, Volume LVII, Issue 178, 29 June 1937, Page 3

ENTERTAINMENTS

STAfE theatre. “ON THE AVENUE.” Swinging merrily along to tho tune of the best songs ever written'by the greatest writer of songs in the world, “On the Avenue,” screening to-night at the State Theatre, represents Irving Berlin at his melodious best, in a musical that is full of pep and kiting good spirits. With Dick PowlT 'ilid Madeleine Carroll making a newvand romantic twosome of musical comedy, the lively Twentieth Century-Fox musical presents a real-liie romance of New York, in a show that is as big as the town. Alice Faye, the ltitz Brothers and George Barbier add both melody and mirth to the production. Madeleine , Carroll, noted hitherto for straight dramatic roles, makes a charming sweetheart for Dick Powell. the beginning of “On the Avenue” finds her, as a wealthy debutante. entering a theatre with her father, George Barbier, and an explorer, Alan Mowbray, at tile moment that Dick l’owcll, Alice Faye and the Ritz Brothers arc engaged in an hilarious take-off on the home life of “the richest g’rl in the world.” Infuriated, Madeleine stalks from the thcatic. threatens the manager with suit, and brushes past the stage doorman to snatch Alice's wig from her and to break tho window of Dick’s dressing room before she is forcibly ejected. Relenting later, Madeleine apolog ses for being a poor sport, and invites Dick to dinner. Falling in love with her. Dick promises to revise the skit, and invites her to the next performance. At til s, however, Alice, Dick’s partner, horrifies him by adding even more caustic lines to the skit. Madeleine takes her revenge on Dick for the public humiliation, but, in a surprising scene, in wlueli the music of Irving Berlin plays a novel part, Dick finds a way to clear up the misunderstandings that have parted them and, to bring a thrilling conclusion' to the film. Swank in its songs, in its romant'c stars, and in its lovely* chorines. “On the Avenue” has the added virtue of presenting some merrily madcap performances by reliable Hollywood fun-makers. Worthy of a separate note are the distinctive and lovely melodies Irving Berlin composed for the film, “This Year’s Kisses,”

■‘You’re Laughing at Me,” “Slumming on Park Avenue,” “I’ve Got My Love to Keep Me Warm,” “The Girl on tho Police Gazette” and a novelty number written for the Ritz Brothers, called “He Ain’t Got Rhythm.”

REGENT THEATRE. “THE GREEN LIGHT.” “Green Light.” the stirring story of heroism, sacrifice and love, by Lloyd C. Douglas (author of “Magnificent. Obsession”), makes an equally impressive appeal. The leading parts are played by Errol Flynn and Anita Louise. “Green Light,” will screen to-night at the Regent Theatre, i Errol Flynn, (lie handsome Irish romantic who won such a triumph in “Captain Blood,” his very first picture, is the star of the film. Instead of a swashbuckling pirate. this time, in “Green Light” he is a heroic young doctor, who sacrifices his promising career in a great city by taking on bis own shoulders the blame for an operation bungled by another. In search of some way to make himself useful to society and to prove to the girl he loves by deeds what be cannot in honour prove by words, ho goes to an obscure mountain laboratory and searches for a scrum that will provent deadly epidemics. Almost at the sacrifice of his lito, lie finds it, and returns to fame and love, with bis professional name cleared of any and all blame. Flynn, whose performances in “Captain Blood” and “The Charge of the Light Bridage” won him such rises to even greater dramatic heights in “Green Light,” proving himself one of the greatest romantic “finds” of the last few years in the role of a young surgoan. Lovely Anita Louise, who shares tho honours, is tho girl for whose sake I’lymi "Suffers and nearly dies. With her natural charm and genuine dramatic ability, she is perfectly cast. SO, too, is the dark-eyed Margaret Lindsay, in the role of a nurse who has always loved the young doctor, but is not destined to have him. In the end, however, her work and tho companionship of another young doctor prove compensation to her. Sir Cedric Hardwicke, who received his knighthood for magnificent work on the stage, lives entirely up to Ills great reputation. Brought trom the London stage for this picture, lie plays a religious dean, whose advice and philosophy shape the lives of the other characters. As the surgeon who bungles the operation and causes Flynn’s martyrdom, but subsequently; redeems himself, Henry O’Neill gives ono of his always htoughtiul and appearling performances. And the same phrase might be fitted to the work of Walter Abel a sa fellow scientist of Flynn’s, who works with him at the mountain laboratory.