ENTERTAINMENTS

Manawatu Standard, Volume LX, Issue 120, 19 April 1940, Page 3

ENTERTAINMENTS

KOSY THEATRE. “SUBMARINE PATROL.” The big superdrcadnoughls that so frequently plough the nq\v6rccl in oui < theatres may be the pride of the American 1 Navy. But it took the frail, splintery, 110- ‘ foot submarine chasers to write the most dramatic chapter in World War naval his- ' tory. Conctructed entirely of wood and for speed rather than seaworthiness, the sub- ! chasers answered the crying need of the • A.E.F. for safe transport through the Üboat infested sea lanes of the Atlantic. Ridiculed at first by the rest of the Navy, who doubted the tiny shq* could even cross the ocean, the amazing craft demonstrated a phenomenal ability for destroying undersea marauders. In recognition of this a fleet of “splinter boats” was ordered to Brindisi, an Italian port, for a raid in conjunction with British men-of-war on the enemy submarine base' at Durazzo. With the British ships standing off to lay a protective barrage, the tiny chasers stormed right into a nest of enemy mines, U-boats and land fortresses to win one of the greatest naval encounters of the entire war, and the only general engagement in which America participated. Charlie McCarthy can now' talk about his operation. During the production of “Letter of Introduction,” (Jharlio was rushed to the hospital where he underwent a long-anticipated operation for what | ailed him. Escorted by Edgar Bergen, McCarthy entered the hospital at _ 4.10 p.m. where lie was the object of an immediate consultation. “Charlie is afflicted with an advanced cane of Termitis,” Edgar Bergen announced to press and public at 4.57. “There is nothing wrong with him that a crecsote bath will not cure,” After the creosote spraying McCarthy was placed in a hospital "ward at Universal studios, where he received friends and a basket of flowers sent him by Adolphe Menjou, Andrea Leeds, George Murphy and othei members of the cast of his picture. MAYFAIR THEATRE. “THE BIG GUY.” Co-starring Victor McLaglen and Jackie Cooper in one of the most dramatic stories to come out of Hollywood in recent months, New Universal’s “The Big Guy” screens to-day at the Mayfair Theatre. McLaglen, whose rugged performances have won him the screen’s highest acting honour, the Academy s Award, portrays a prison warden who is trapped by the same motives he condemns in the convicts under his caie. Cooper has a new and different typo screen role as the youth entangled in a web of circumstantial evidence wflich leads him into disaster. Heading the supporting cast is Ona Mun- ’ son, who played Bolle Waiting in “Gone with the Wind,” Peggy Moran, youthful screen beauty in tho romantic lead opposite Cooper, Edward Brophy, the comedymenace, and Alan Davis, Jonathan Halo, Russell Hicks and Milton Kibbe.

“Code of the Secret Ben-ice,” the second in the W T arner Bros.’ scries of pictures depicting the exploits of the United States Secret Service, showing to-day at the Mayfair Theatre, with Ronald Reagan again in tho starring role, as in the first film of the series, “Secret Service of tho Air.” Reagan has been assigned the dangerous job of breaking up a band of counterfeiters operating across the Mexican border. In the course of his assignment ho narrowly escapes execution by Mexican authorities for the supposed murder of one of his own pals, and twice escapes death bj' a hair’s breadth when lie falls into the hands of the gang. Daring secret service agents rout enemy spies, a phantom man steals the meteorite box and tho hero crashes into a speeding train in “Thundering Rails,” the fifth exciting episode of ‘The Phantom Creeps, 12-chapter Universal serial showing today at tho Mayfair Theatre with Bela Lugosi, Robert Kent, Dorothy Arnold and Regis Toomey in the starring roles. METEOR THEATRE. “GOLDEN BOY.” Unquestionably unique in treatment and in theme, Columbia’s “Golden Boy ’ opens on Saturday at the Meteor Theatre to prove that Hollywood, when it wants to, can turn out definitely superior entertainment. Tho new film, directed by Rouben Mamoulian and starring Barbara Stanwyck, Adolphe Menjou and William Holden, is based upon Clifford Odet’s romantic drama. “Golden Boy” tells of a young violinist, impatient and tired of working toward the day when he will bo a success on the concert stage, who rapidly fights his way to tho top in the prize-ring. In his swift climb to pugilistic stardom, lie ruthlessly tramples upon the hopes of his musicloving father, ignores the eryings-out of his own conscience. lie becomes brutalised by his new environment, until his love for a disillusioned young woman —the only pierson who really understands the tremendous conflict raging within him —causes him to give up the ring and return to the forgiveness of his family. Of the utmost importance in any consideration of “Golden Boy” is the performance turned in by newcomer William Holden, making his motion picture debut in the all-important title role This handsome youth is so convincing in his “Golden Boy” characterisation that we risk little in prophesying stardom and tremendous popularity for him. Flawless performances bv Barbara Stanwick anu Adolphe Menjou add charm and a certain exuberance to the picture. Miss Stanwyck is so ideally cast that one forgets her identity and. remerntiers only Lorna Moon, the girl who finds romance for the first time when “Golden Boy” tells her bis dreams. Mr Menjou is superb as the cynical, harassed fight manager. Other splendid performers in important roles include Joseph Calleia, Lee J. Cobb, Edward Brophy and Sam -Lcvene.