ENTERTAINMENTS

Manawatu Standard, Volume LX, Issue 131, 3 May 1940, Page 3

ENTERTAINMENTS

. STATE THEATRE. “TI-IE SAINT’S DOUBLE TROUBLE.” Cleverly blending spine-tingling melodramatic action, mystery, high speed romance and amusing incidents, -‘The Saint’s Doublo Trouble,” which shows at Tho State Theatre to-day, proves to be one of the most thrilling films in the popular series based on the Leslie Charteris novels; George Sanders again plays Tho Saint, audacious killer, who conducts a onc-inan war on criminals wiiom the law' cannot touch. Supplying the romantic. ni terest is blonde. Helene Wnitncy, newcomer to fiims, who recently made her screen debut in “The Hunchback of Notre Dame,” and who proves herself an ideal foil for the adventurous, danger-lcving Robin Hood, Jonathan Ilale again plays Inspector Femack, the dogged detective. The screen play by Bon Holmes deals with The Saint’s conflict with a ruthless international jewel smuggler whose, amazing physical resemblance to Templar aids hint to pose as ins adversary while conducting lii» nefarious activities When The Saint is unjustly blamed for a murder, _ the polico take to his trail, and the elusive lone wolf sets out to track down the real criminal. His dangerous ‘ mission brings him faco to face with his double who, lie iearns, is a notorious jewel thief. Turning the tables on liis foe, The Saint poses as the smuggler, invades his waterfront headquarters to obtain evidence. His subsequent capture by the crooked band, his sensational escape, his rescue; of his sweetheart and the exciting denounient to this thrilling melodrama make it a fine piece of action entertainment. KOSY THEATRE. “IT’S IN THE AIR.” George Formby, who has jumped to amazing heights of popularity' in motion pictures and over the radio, is a simple young fellow at heart. A friend of his struggling days, as a vaudeville artist, recently asked him: “How docs it feel to bo famous, . George ?” Formby has taken it. all in his stride, and his answer- was characteristically typical, “Well, John, I don’t know —but the only difference I find between to-day and yesterday is that I have got a lot more work to do,, and a lot more bobs to spend!” Famous in films, over tho radio and on the English music hall' stage, George Formby is now concentrating mainly upon motion pictures, the success of his latest comedy, “It’s in the Air,” being anticipated to find an international response that will add to the already tremendous public his .films enjoy in Great Britain and Australia.

“Owd Bob,” tho new Gainsborough pics tnre at the ICosy Theatre, is a modern j adaptation of Alfred Ollivant’s famous r novel, which made such an enthralling and j picturesque film in the silent days. It itif troduces to the screen that grand Scottish , actor, Will Fyffc, in his first dramatic and ' starring role. He ’is seen as the surly farj iner, Adam McAdam, hated and feared by . neighbouring shepherds ill the rugged , Cumberland district —bis only friend a sav- [ age Alsatian. Black Wj.ill, as little loved j as his master. < The only object of his . affections, other than his dog, is his daught ter, portrayed by Margaret Lockwood, “Owd Bob” being the tirst film in which ' this rising young star has appeared under j her new long-term contract with Gains- [ borough. METEOR THEATRE. “FROM MANGER TO CROSS.”" • Almost thirty years ago a film was miide which gripped the imagination of all those who cared for the finer things of life. It was a sincere and singularly successful endeavour to bring to the screen the main events in the life of the world’s greatest teacher and'healer. Filmed op the actual sites of the Holy Land, the photoplay prct serves authentic scenes, since . lost under the levelling hand of time. There are no artificial sets, for caeli scene was taken on the traditional sites of Palestine. There are no stars, for the players have remained anonymous in deference to their sacted theme. There is no glamour; there are no brilliant effects; showmanship here plays no 'part. You will understand why this photoplay has been revived for the third time. “From Manger to Cross” is an alltime masterpiece, bringing to-day, in the medium of the twentieth century, the. appeal of the Christ to the deepest and

noblest instincts of humanity. When first j shown, iii the Royal Albert Hall, I/ondon, the film packed the great auditorium daily for three months; the world acknowledged its rare beauty and poignant force. Ex-soldiers may recall, seeing it in an old \ iron hut behind the lines in Flanders, , where the present Bishop o.f Oxford ' screened it -hundreds o'f times before hut, j projector, and film were blown up by artil- , lery. Re-discovered in America twenty < years later a copy tv as subjected to spec-1. ial treatment and re-emerged with its If timeless message. In 1938 Her Majesty, , k Queen Mary, commanded a special screen- , ing in the Palace of tho Bishop of London. But there are no gorgeous robes; no magnilieent spectacles; no gilded trappings; no. seraphic bursts of song, Even as the Bible itself relates in simple language the It living of this simple life, so does the film f portray it against the actual background < where it was lived out in the long ago. ' We pay tribute to those early pioneers, whose inspiration caught for us, ere it ; was too late, the authentic scenes of the y itorv that will live forever. , £