AMUSEMENTS.

Taranaki Central Press, Volume IV, Issue 360, 15 February 1937, Page 8

AMUSEMENTS.

Plaza Theatre.

“Our Relations.”

When two Laurels and two Hardys appear at the Plaza Theatre for the last time to-night, in ‘Our Relations,’ the stage should be set for, It possible, double the laughs audiences are accustomed to reap from the antics of the oddly-assorted pair. One lean, sad-faced Laurel, and one pompous, jovial Hardy, have been inseparable and irrepressible in the entertainment world for ten years, but in this production they each acquire a twin brother, portraying dual roles for the first time in a feature-length comedy. It’s double-trouble and double-laughs in the most ingeniously funny situations ever to confront this team of stellar comedians. Even their wives (Daphne Pollard and Betty Healy) did not know or believe they had twin brothers in the new laugh hit, based on W. W. Jacobs’ story, “The Money Box.” And when they come sailing in on an old tramp steamer as their own twin sailor brothers, the way is paved for a riot of buffoonery and new Laurel and Hardy pantomime and fantasies. Thrills and excitement are added when gangsters, menacingly played by Ralf Harolde and Noel Madison, enter in quest of a fabulous-ly-valuable pearl ring entrusted in the care of the sailor twins by their ship’s captain, Sidney Toler. The sequence on the picturesque dock wharf for the finish is said to rank as the most original and spectacular of the clever Laurel and Hardy gags.

“Forget Me Not.”

The growing demand among filmgoers for better class musical entertainment is admirably catered for in the London Films’ production, “Forget Me Not,” which is to commence a season at the Plaza Theatre to-morrow for two days. Beniamino Gigli, the world-famous singer, who has been acclaimed as the greatest tenor since Enrico Caruso, has the leading role, and his rendering of many beautiful numbers from famous operas, in addition to several pieces specially composed for the film, provide a rare musical treat. Although not originally intended for a musical career, Gigli’s voice attracted attention when he was a small child, and many years of careful tuition and painstaking study under some of the most famous singing teachers in Italy followed. After he made his debut in "Gioconda” at Rovigo in 1914, he made steady progress, finally being acclaimed in the celebrated musical centres of Europe and also at the Metropolitan Opera House in New York. He receives capable support in the interpretation of a pleasing romantic story, from Joan Gardner, Hugh Wakefield and Ivan Brandt.

King’s Theatre.

‘The Girl On the Front Page.’

The methods of blackmail rings that have been revealed in newspaper headlines of the past were rarely more ingenious than the plans developed by the “Thursday Club” in Universal’s offering, "The Girl On the Front Page,” which shows finally at the King’s Theatre to-niglft. The blackmailers succeed in entering the employ of the most prominent wealthy families in the city as butlers, personal maids and household servants] They snoop for scandal and improvise it where it does not previously exist. The latest in household help! Working in several homes simultaneously, they meet on Thursdays to compare notes and advance their schemes. When some person is ripe for plucking, they send a representative to demand hush money. After collecting, the exclusive help goes on to another victim. This bright little scheme is finally squashed by the managing editor of the city’s leading newspaper. The editor’s role is portrayed by Edmund Lowe. Gloria Stuart is seen as “The Girl On the Front Page.” She portrays an heiress who inherits the newspaper and who engages in love quarrels with the managing editor. The blackmailing butler is played by Reginald Owen.

“They Met In a Taxi.”

When this hard-boiled yegg meets a dizzy dame who’s easy on the lies he lets himself in for the fastest, funniest frolic since the first kiss in a cab! That’s the story of Chester Morris and Fay Wray in the grandest, goofiest yarn that ever rolled oft roaring from the pen of Octavus Roy Cohen. The picture’s called ::They Met in a Taxi.” and will be showing at the King’s Theatre to-night. It al! started when he said “You may have heart trouble, but you're just a pain in the neck to me!”, and finished-when she said, “I do!” Here are four of the gayest characters in captivity, in the tastiest dish of love-and-laughs in many a moon! In addition to the romantic leads there are Raymond Walbnrn and Lionel Stander, the screen’s No. 1 stooge, topping his roles in “Mr. Deeds” and “Meet Nero Wolfe.” Alfred E. Green directed.

“Poppy.”

Paramount's “Poppy,” W. C. Fields’ picture of 1883 carnival days, coming to the King’s to-morrow and Wednesday, Is the star’s 22nd film since his first appearance in the movies. His first, in silent days, was “Sally of the Sawdust,” in which he made an immediate hit in the same role he plays In “Poppy.” Fields was famed as a juggler, pantomimist and stage comedian before he went to Hollywood. In a small town where Fields sets up his medicine show—and quiet shell game—Rochelle meets and falls in love with Richard Cromwell, a village youngster who is the son of the mayor. The comedian, scenting monely, fakes up a plan to obtain for Rochelle and himself an unclaimed estate. He palms the girl off as a missing heiress. The plan has succeeded when his plot is uncovered, and Rochelle faces a return to the life of the road. The developments which follow bring a happy ending for all concerned, with Fields strutting his way into the distance, searching for new carnivals and new "yokels, their pockets bulging with filthy lucre.” Lynne Overman, Catharine Doucet, and Rosaland Keith are outstanding as featured players.