Entertainments

Manawatu Times, Volume 64, Issue 304, 26 December 1939, Page 9

Entertainments

REGENT THEATRE TO-DAY “WIZARD OP OZ” “The Wizard of Oz” is exactly what you would expect and, on the other hand, it is far more than you expect. If you hope that L. Prank Baum’s story, which children and grown-ups have been devouring greedily for almost forty years, has not been turned into sometning unrecognisable you have no need for fears. Every- 1 thing is there, everything that made it a fascinating fantasy. No wonder millions ] love Oz—with its sparkling dialogue and 1 lyrics, delightful events, the thrilling 1 action of the story. “The Wizard of Oz” i has the greatest colour camera magic ever dreamed of. The cast is diamond-studded. Judy Garland as Dorothy proves she is the greatest child actress of her age on the screen and it Isn’t only her lovely songs which do it. Frank Morgan’s star I rises even higher with his performance of 1 the delightful humbug, the Wizard. In songs and dances, Kay Bolger as the ; Scarecrow, Jack Haley as the Tin Woodman and Bert Lahr as tne Cowardly Lion again proved why they have been Broadway musical comedy and radio stars so long. Billie Burke is eye-filling as Glinda the Good and proves she can do more than play feather-brained mothers. Margaret Hamilton is perfect as the Wicked Witch. Charley Grapewin, Pat Walshe and Clara 1 Blandiclc score in familiar roles. The musical score, in which the lyrics form part of the dialogue is as lilting as it is novel, and you’ll soon be humming “Over the Rainbow,” “If I Only Had a Brain,” “If I Were King of the Forest’’ and “The j Merry Land of Oz.” And if all this isn’t enough, there are hundreds of the most intriguing little Munchkins you’d ever im- j agine, thousands of other delightful characters and even trees which move. METEOR THEATRE—TO-DAY “WINGS OF THE NAVY” Produced with the unstinted co-opera-tion of the United States Navy, “Wings of the Navy,” a Warner Bros.-Cosmopoli-tan picture which effectively dramatises the thrilling story of naval aviation, shows to-day at the Meteor Theatre with a cast headed by George Brent, Oliva de Havilland, John Payne and Frank McHugh. The background of the, new picture lends; itself naturally to the depiction of impressive and thrilling scenes, and the studio, with the navy’s aid, has taken full advantage of the opportunities presented. About 600 planes, including every type used by the navy, are shown at various times in the course of the story, and there are several shots in Which scores of planes take off or land in succession or are seen aloft simultaneously in breathtaking vistas of mass flying. There are also many exciting shots of dazzling manoeuvres by individual pilots and several bits of action—including three crashes —which are bound to electrify the beholder. The spirit ahd tradition of the aerial wing of the naval service are effectively presented in a story that covers the life of the average navy flier from the beginning of his training to the time when, as a veteran pilot, he can take part in mass flights in huge seaplanes over thousands of miles of open ocean. Aside from the thrilling and engrossing flying background, the picture is marked by a human and moving story of brotherly affection and a charming romantic motif which for a time, however, threatens to shatter the bonds between the two brothers, played by Brent and Payne, for they both love the same girl, played by Olivia de Havilland.

STATE THEATRE TO-DAY “SHIPYARD SALLY” Hearty comedy, glorious singing of old favourites and new hits by the one-and-only Grade Fields, and a strong story combine to make it incomparably the best Gracie Fields vehicle to date. Clydeside, where the story opens is seen as a period of prosperity closes and poverty and de'spair settle over the workers. Grade ; Fields appears as Sally, a music-hall artist J who finds that to keep her errant father, the “Major,” in order is becoming almost 'a lull-time job. The "Major” is played by i Grade’s co-star, Sydney Howard. He buys ; a Clydeside "pub” with Grade’s savings and looks thirstily forward to drinking j the profits. There are no profits, however, for the men can no longer afford to pay for their beer. Grade proves a friend to 'the workers, dispensing beer and encour'agement without hopp of reward beyond their profound gratitude and friendship. A commission is appointed in London to report on the situation at Clydebank, and Sally is sent to London to plead for a resumption of work. The “Major” decides to accompany her! Lord Randall (Morton Selton), head of the commission, is both busy and elusive. When orthodox methods fail to bring Sally an interview she uses her voice and her ingenuity. She poses as an American blues singer and becomes the ■hit of a party at Randall’s house; she Impersonates a young man of Mayfair and passes through the portals of Lord Randall’s very conservative—and all male — club; she continues her impersonation of j the singer at a country house-party and at last her efforts are rewarded with success. Seldom has anything so funny as the male j impersonation sequence been seen, and the finale, when Grade Sings “Land of Hope and Glory,” is patriotically stirring land deeply moving. Four sessions: 2 p.m., '5 p.m., 7.45 p.m., and 10.20 p.m. KOSY THEATRE—TUESDAY WEDNESDAY, THURSDAY “STREET SINGER’S RETURN” “Street Singer’s Serenade” is rightly termed the “Happiness Picture of 1939.” A glorious modern musical romance, punctuated with many delightful song hits, including that great favourite, “The Whistling Waltz,” is “Street Singer’s Serenade.” In his new screen story, “The Street Singer’s Return,” the feature now showing at the Kosy Theatre, Arthur Tracy is supported by a big cast, including Arthur Riscoe, clown prince of comedians, lovely Margaret Lockwood, Hugh Wakefield, Raiwicz and Landauer, celebrated piano duettists, who have had the honour of giving several performances before Royalty; Ellen Pollock, and Lew Stone and his merry music-makers. Arthur Tracy appears as a famous singer, wht> quarrels with his leading lady and “walks out” on the show In his “Street Singer” clothes. Mistaken for what he looks, he is be- , friended by a beautiful girl (Margaret Lockwood), who takes him to her tenement home, which she shares with her uncle (Arthur Riscoe) and with Tracy entering into the spirit of the adventure, the three become a trio of street entertainers. , Meanwhile, the stage producers are searching high and low for Tracy, but Arthur ' has falln in love with his little benefactoress, and refuses to be “found.” Inter- | woven throughout the story are six song . hits, including “Halfway to Heaven,” , “Street Serenade” and “Haroun El Ras- [ chid,” that promise to rival in popularity , even the merry numbers or “Street Singer’s Serenade.” The Secret of Stamboul.” “The Secret of Stamboul,” the second ‘ attraction, co-starring Valerie Hobson and Frank Vosper, is the story of Larry, a young army officer, who, at a club ball, knocks down a Turkish diplomat who Is forcing unwelcome attentions on the Colonel's daughter. To avoid a military scan- , dal, Larry resigns, and accepts a job to investigate the affairs of a tobacco company in Turkey. He soon learns that a . political intrigue is concerned with the company, and a secret organisation is at work to upset the Government. He also , m ®ets a beautiful girl in Tania, a Russian refugee, now in the power of the scoun- • drels, and she tries to save him from their i dutches. However, one of the revolutionary leaders, known as the Eunuch of ’ Stamboul, captures Larry and has him t " r ®J vn into the sea, but Tania, knowing i of the Plans, is able to rescue him, and in the nick of time they prevent the upris- ' ing. Playing the role of the sinister Oriental revolutionary leader is Frank Vosper, who reveals with amazing subtlety the reasoning of the Oriental mind, while Valerie Hobson as the Russian girl Tania, also gives a pleasing performance.