AMUSEMENTS.

Taranaki Central Press, Volume IV, Issue 405, 12 April 1937, Page 8

AMUSEMENTS.

Plaza Theatre. “The Garden of Allah.” “The Garden of Allah,” which show's at the Plaza Theatre night, reproduced at' it: is ip natural colour, must be ranked as an outstanding picture. Not that the colour dominates the film, for both the desert settings in which the film abounds and the Interiors are chosen with irreproachable taste. The colours for the most part are .quiet and it is rarely that bright contrasts are introduced. Against such a notably beautiful background is thrown a story somewhat deepei - than the average screen story. The dominant issue is the love of a beautiful girl who is seeking peacp in the desert after the loss of her cherished father, and a man unused to the ways of the world, an escapee from a Trappist monastery. A strange courtship, in which the woman does her best to allay the um;est in her' lover’s soul, marriage, and a honeymoon in the desert lead up to a protracted climax, in which the man is revealed as ope who has broken vows more sacred than those of marriage—a contract with the Church. It is at this stage that Charles Boyer, he leading actor in the film, rises to great heights, as he tells of the unrest he has suffered since he forsook the Church for the world. Marlene Dietrich, too, plays her sightly less difficult part surely and sincerely. “The Garden of Allah,” as the producer acknowledges, is not intended as pure entertainment and nothing else. It deals with emotional issues capably and convincingly, and as such will be greatly appreciated. Its characters will be found at times repellent, at times delightful, and always wholly understandable, and a hard-thinking producer has included in it many of the sights of the East, a number of its desert folk some superb photography, and an orchestral accompaniment which greatly assists the story. A cartoon in colour, one of Disney’s finest efforts, and a travelogue of Dutch Guiana, are included among the supporting pictures.

King’s Theatre. “Dracula’s Daughter.” “Dracula’f Daughter” which shows at tlhe King’s Theatre totnight, brings with it all the 200-year-old superstitions about vampires which still persist in Central Europe. Scientists challenge the occult and. so far, science has won everj’ bout with vampires. For fhat reason, the actors and director of "Dracula’s Daughter” deserve a great measure of praise for the strangely credible quality they give to the screen offering. Those who liked the earlier film, "Dracula,” will find entertainment in the sequel. While audiences that did not see it will discover a curious appeal in the novel presentation of the weird creature who hypnotises humans and bends them to her desires. Otto Kruger portrays with easy naturalness the scientist who combats “Dracula’s Daughter.” The title role is interpreted with compelling lure by Gloria Holden, a stage actress who gives an excellent performance. Marguerite Churchill provides the romantic element in the drama. Edward Van Sloan, who played Dr. Von Helslng on the stage and screen in “Dracula,” contributes praiseworthy work to the sequel. Irving Pichel is splendid in a part that requires consummate acting. Other players who rate favourable mention are Nan Gray and Helda Hopper. Lambert Hiilyer has handled the cast and the scenes with extreme care. Garrett Fort wrote the screen 'play, basing it on Bram Stoker’s “Dracula’s Guest.” “Dracula’s Daughter” will screen at the King’s Theatre to-night and Monday.