AMUSEMENTS.

Taranaki Central Press, Volume IV, Issue 342, 25 January 1937, Page 8

AMUSEMENTS.

Plaza Theatre. “Wife v. Secretary.” Above everything else, however, Metro-Goldwyn-Mayer’s “Wife Versus Secretary,” to play at the Plaza Theatre finally to-night, has the great starring combination of Clark Gable, Jean Harlow, and Myrna Loy heading the admirable cast so ably directed by Clarence Brown. “Wife Versus Secretary” is a most modern story of Van Sanford (Clark Gable), prosperous young magazine publisher, his wife Linda (Myrna Loy), and his lovely and capable secretary, Miss Wilson (Jean Harlow). Gable in the polished big-business role of Van—a decided contrast to his recent vigorous roles as Fletcher Christian in “Mutiny on the Bounty,” and Captain Gaskell in “China Seas” —establishes his right as one of three international leaders of the starring ranks. Jean Harlow again appears minus her platinum tresses and as the secretary reveals new talents in versatility. Miss Loy, the screen’s ideal wife, proves that she can be just as faithful to Gable as she was in the role of William Powell’s wife many times past. Clarence Brown’s direction, so closely following Garbo’s “Anna Karenina” and Eugene O’Neill’s “Ah Wilderness!” adds another to his record as an “all-time best director.” Hunt Stromberg wins added laurels for his showmanship. The photoplay by Ray June is superb.

“Little Miss Nobody.” Bubbling with laughter and bursting with song, roguish Jane Withers appears at the Plaza to-night and tomorrow night in her joyous ne|w Fox hit, “Little Miss Nobody.” The picture follows the adventures of a merry orphan thrugll a series of escapades both hilarious and pathetic. Featured in the strong supporting cast are Jane Danwell, Ralph Morgan, Sara Haden. Harry Carey and Betty Jean

Hainey. Jane is a mischievous, nameless orphan who wins “Trouble” for her first name. She tries to be good, but only succeeds in getting in bad. Her heart is as big as the sky, and many of her scrapes arise directly

from the fact that she is constantly trying to shield her bosom pal, Betty Jean| Jane even goes so far, when her real father appears to claim her, as to switch identities with the other little girl to save her from being adopted by an arrogant, newly-rich woman. This proves Jane’s undoing, however, for the matrons of the institution misconstrue her act. She is sent to the reformatory. En route there she makes her escape and finds refuge in a pet shop owned by an escaped convict, Harry Carey. Jane confesses the entire story to him and he, won by her generosity, arranges a secret meeting with Betty Jean, who is living near by. “Dutch,” another criminal who is blackmailing Carey because of his past, overhears the conversation and locks Cbrey in “San Francisco.”

For the first time, the rugged, twofisted Gable of old and the lovely Miss MacDonald, with her glorious voice, are brought together, with Spencer Tracy also sharing the limelight, in the M.G.M. super-production, “San Francisco,” which will be shown at the Plaza Theatre from January 30 to February 3. The story, which was directed by W. S. Van Dyke, the man who made “Naughty Marietta,” concerns the Barbary Coast of 30 years ago, opening on New Year’s Eve, 1906, and continuing thrdugh one ot the most disastrous dramas of the century—the San Francisco earthquake and fire. Gable has never been seen to greater advantage. He gives a performance that stands out for its power and sharply etched character delineation. Miss MacDonald, singing songs which range from simple ballads to glorious operatic arias, surpasses even her superb work in “Naughty Marietta.” I Perhaps the greatest surprise of the picture, however, is the strikingly different portrayal by Spencer Tracy, who abandons his usual tough roles to contribute a Sincere and unforgettable portrait of the priest. King’s Theatre. “Silly Billy.” Bert Wheeler and Robert Woolsey have poked fun at about everything, and the latest to get its share of kidding is the Western thriller, thennewest production to be shown at the ] King’s Theatre to-night for the last time. “Silly Billies,” their bit of sat-

ire, includes all the thrills that commonly provide the smash climaxes of sagebrush sagas, but, as Woolsey said while the picture was filming, “No Western was ever like this.” Lovely little Dorothy Lee, who has been with the boys in just about every picture they have made, is again romantically teamed with Wheeler. Harry Woods, Ethan Laidlaw, Delmar Watson, Dick Alexander, and Chief Thunderbird complete the supporting cast, which is supplemented with some 200 extras in spectacular scenes of a gold rush trek and the climaxing Indian massacre. “To Beat the Band.” In "To Beat the Band,” showing at the King's to-night, R.KO Radio presents a comedy drenched in melody, yet powerful of plot as compared to the average run of musical productions. With a cast headed by Hugh Herbert and Helen Broderick, and containing such players as Ray Mayer, Evelyn Poe, Joe Hodges, Phyllis Brooks, Roger Pryor, and the original California Collegians, famous dance band, “To Beat the Band” is well equipped with talent. Aside from the cast, there’s the story—a rollicking, gusty yarn. Then there are tunes and a general atmosphere of hilarity and glamour.