ENTERTAINMENTS

Manawatu Standard, Volume LVIII, Issue 52, 29 January 1938, Page 3

ENTERTAINMENTS

REGENT THEATRE. “SOULS AT SEA.” “Souls at Sea” screening at the Regent Theatre to-night, is the motion picture treatment of the famous trial of “Nuggin” Taylor, sea captain of the ’4o’s, who assumed command of 1 the brig William Brown when that ship caught fire in midAtlantic shortly after her master died. Taylor is played by Gary Cooper, who hardly performed as well in any of his long string of credible adventure stories —possibly because ho was re-enacting a story from history’s pages for the first time. The William Brown was equipped with only two lifeboats and Taylor realised that he could never bring the entire ship’s company to safety in the frail craft. He ordered a trial to determine who should be permitted to go aboard the lifeboats and who should be ordered —at pistol point—to remain aboard and go to the botom with the ill-fated vessel. He included himself among the survivors not because lie wanted to save his life, he later told an Admiralty, Court, but because he knew he was the only man who could bring the lifeboats safely through to land. There followed a trial which is now epic among sea trials. Taylor was accused of manslaughter on the high seas not only by the survivors, but what hurt most, by his sweetheart, played by beautiful Frances Dee. This powerful Paramount picture lists in its cast George Raft, who is superb as the hard-boiled mate of the vessel who would steal a kernel of corn from a hen but would follow his captain to the grave; Henry Wilcoxon, Harry Carey, Ulympe Bradna, Robert Cummings, Porter Hall and a roster of supporting players culled from Hollywood’s most noted feature players.

METEOR THEATRE. “HERE COMES THE NAVY.” What we want to-day is plenty of laughter, something to make us forget our worldly cares and worries, and the Meteor cinema has the recipe in the programme now screening. “Here Conies the Navy, with Pat O’Brien, Janies Cagney, Frank McHugh and Gloria Stuart, is the film. Not for one moment does the quick-file dialogue let up, and the many amusing situations and complications will fairly “split your sides.” A little diversion is supplied by a fine supporting feature, “Burred Windows.” A most unusual murder mystery drama, the scenes of which take place almost entirely within the bleak walls of a great penitentiary, is scheduled ns tho second attraction now showing at the Meteor Theatre, under tho title ot “Barred Windows.” In this strange drama two men are slain, one in Ills cell and another in the prison library, with warder and guards and trusties in speaking distance. And while there are attempted murders for revenge, in the first, killing the motive is to steal the vast fortune of a racketeer, who has cached his money before his conviction. The second is committed to cover up the crime. Craig Reynolds has the leading role, that of a star reporter for a city daily, who eventually solves the murders, and reveals the motives. June Travis has the role of secretary to Joseph King, who plays the part of the ex-racketeer, who had ben trying to go straight, but had beer, threatened with death by another crook because lie would not join him in a dope running scheme. Purposely committing a minor offence to escape the vengeance of the crook by a prison sentence, he eventually is shot down like a rat in his cell. Richard Purcell has the role of the vindictive and vengeful crook, with George E. Stone as his chief aidd. Both are suspected of the crimes, but so also are two of the prison guards, parts played by Addison Richards and Charles Middleton. Barton Mac Lane is tho blustering detective, and Joseph Crehan is tho prison warder. Eddie Acuff and Mary Trcen have the roles of comedy reporters on the case. It is Reynolds who finully solves the crimes and wins June Travis.

MAYFAIR THEATRE. “THE LOST HORIZON.” Opening in a whirlwind of cxcitciuent in which a handful of bclcugurcd whites flee massacre at the guns of Oriental banditrebels, tho drama hurls its protagonists through the bitter chaos symbolic of tho world wo know into the peace and beauty of Shangri-La, the world wo dream about. Hidden heaven-high in tho Himalayas, guided by an centuries old, this community has solved life’s problem in harmony and brotherhood. Hero the law is kindliness. Tho doctrine, moderation in all things. To Colman, who has envisioned such a Utopia in the outside maelstrom, the High Lama hands tho torch which is to enlighten a new world built upon selfimposed wreckage, of the old one. Even the unknowing, earth-bound comrades of the understanding hero become imbued with the spirit of peace and helpfulness. That is, all save a dullard weakling brothcr who is the hysterical Adam of this Eden to the serpcnt-liko Eve of actress Margo. These two attempt to shatter the faith of their loader in the magic and the nivstcrics of Shangri-La, and almost they suceed. But they destroy themselves instead, and Colman, plunged again into tlie weltering hell beyond the portals ot paradise, fights his wav back through a tortuous trail to a land of eternal peace and love. The picco i 6 filled with an inspirational philosophy. But there is personified drama, too. For the love idyll ot Colman and Jane Wyatt, the comedy of Edward Everett Horton and Tommy Mitchell, tho menace of Margo and John Howard, tho tragic figure of Cannlle-like Isabel Jewell—all arc very, very human. And in those simple things, as well as the breath-taking magnitude, • the scope of tho production itself, tho triumph of the picture lies. The casting is pretty well perfect with Colman, central figure, excelling’ as tho star. Inspired portrayals are given by Sam Jaffe and H. B. Warner, as holy men. Thomas Mitchell and Edward Everett Horton leaven the drama with laughter. Margo and Isabel Jewell distinguished their roles; John Howard is a properly nerve-frayed foil, and tho young actress, Jano Wyatt, is as lovely _ a love ns one might moot in any Shangri-La. In “Lost Horizon,” screening to-night at tho Mayfair Theatre, is found a movie masterpiece.