AMUSEMENTS.

Taranaki Central Press, Volume IV, Issue 409, 16 April 1937, Page 8

AMUSEMENTS.

Plaza Theatre. “The Big Broadcast of 1937” In “The| Big Broadcast, of 1937,’' A'hich will screen for f.he last time at the Plaza Theatre this evening, the Paramount studios have produced a film of great entertainment value. Bright comedy, delightful tinging £nd a splendid array of talented performers ranging from Leopold Stakowski and his orchestra io George Burns and Oracle Allen, made the film ithoroughly pleasing. One feature which alone would make the picture worth seeing is ite excelleWt photography. The s (aging is modern and Mitchell Leisen, the director, and his cameramen have creaked a iiumhtr of striking studies in black and white. The treatment, of an orchestral interlude, conducted by Leopold is exceptionally good. With the camera focussed for several teconds upon the conductor’s expressive hands as they draw the fullest measure of melody from Bach’s Fugue in G Minor, the director lias .succeeded in adding a brilliant effect Ito a really fine piece of musical interpretation. This item thoroughly I deserves the applause it evokes from , the large audience. Unlike pre.vious “Big Broadcasts,” this film has a good deal of story interest. It •is more-a musical comedy acted in a broadcast station seK'ing <than a revug. The most prominent performers iiiciude Bob Burns, who provides a series of hilarious “additions” to serious broadcatg, items, Jack Benny, Martha Raye, Shirley Ross. George Burns and Gracie Allen. Benny gives in admirable comedy performance, timing his witticisms with accomplished ease. He makes an excellent broadcasting manager. George Burns , and Gracie Allen take full advantage of the scope they are given for their inimitable type of hilmqur, while Shirley Ross, as a temperamental radio ilnghr, acf,g well and signs delightfully.

King’s Theatre.

“Parole.” Suppose you were forbidden to marry by law, what would you do? Such a law does exist in some American States to-day. The problem confronted a young man and woman who were deeply in love, and it took action by the Governor to perrnj*. them to wed. Their unusual story is told in the Universal film, "Parole!" which is now showing sit the King’s Theatre. The man had been sent ito prison for killing someone while driving an automobile. When he was released on parole later, the conditions of the parole law specified that he could not marry until the full length of his term had expired. Nor could he move to another State because that would break his parole. The climax of the story provides a solution for /the sweethearts. This is just one of the many situations surrounding the parole question. The motion picture shows 'the lives of men and the hearts of women; the sly, cunning plots of racketeers, the webs they weave and the traps they fall inlto. It shows money grab, bers who se( nets for others and become entaiigled themselves. The photoplay “Parole!” rips the mask off the evils rtlia't go on, outside as well as inside of prisons. The brave, (tender love story has the vitality and fire 'of youth, it stands out strongly against a background. of (terrific dramaftic force. There are clashes between men clamoring for freedom and grafters scheming for profit. This 1 movie, “Parole!” has tremendous sweep to it, a stirring power 'that you will teel as you watch the narrative unfold. The leading cha-raoters are played by Henry Hunter and Ann Predton, who make their screen debut in “Parole!” For four years they have been doing dramatic sketches on nationwide radio .chains, under the names of Arthur Jacobson and Shaindel Kalish. They give an even more thrilling performance on th© screen. Other prominent actors in the cast include Alan Dinehart, Alan Baxter, Alan Hale, Grant Mitchell. Berton Churchill and Noah Beery inr.