AMUSEMENTS.

Taranaki Central Press, Volume IV, Issue 458, 16 June 1937, Page 8

AMUSEMENTS.

PLAZA THEATRE “Rhodes Of Africa.” An arresting story of the adventures of Cecil Rhodes in colonising South Africa for the British Empire is vividly portrayed in the unusual historical drama screening at the Plaza Theatre to-night. Fine acting by Walter Huston in the title role achieves both dignity and sincerity in conveying the sin-gle-purpose urge of an immort’t.l British hero. The narrative is rich in spectacle and is completely convincing. Historic 'detail escapes from the orthodox in a refreshing manner. Clashes with Paul Kruger, parleys with Lobengul'a, King of the Matabele, the historic and dramatic Jameson Raid, the frenzied rush of diamond prospectors to Kimberley, the battle with the Matabele warriors,' Rhodes’ dramatic pleading with the grim Kruger for Jameson's life—these are highlights in the film that have never been equalled in their brilliancy. Throughout the fa-bric of the story is interwoven with the by_play ot Rhodes’ incessant scheming for Boer domination and Empire achievement. The casting of "Rhodes of Africa” is masterly. Walter Huston gives the performance of his life-tims in ithe tKle_role. Genius shines from his treatment of a complex character: lie is faithful to history ydt. human. He hxs lived the part He is reincarnation, not of a legendary figure, but of a flesh and blood man, a flg ure that .everyone can understand — and love.

“Craig’s Wife”

In ‘‘Craig’*' Wife” John Boles, as Walter Craig, has the lerading male role, one of the most difficult, he has ydt been called upon to handle, and 1 his performance throughout is faulltless. His part is that of a devoted husband who gradually comes to realise his wife’s blind selfishness and petty tyranny, and in spite of all retains his love for her, even though she drives him to the point of deserting her. Boles blends the d ivotion and sorroy of Walter Craig in aa accomplished manner. His performance it, it auything, somewhat overshadowed by that of Rosalind Russel, who as Harriett Craig, also fills a part which calls for skilful handling. Her role is that of a wife who finds herself losing all those things she bias worked so hard to secure, and is forced to realise that she has only herself to blame for the loss. The wrecking of her domestic happiness is due to her neglect of her husband and his rights as a human being. One of the most difficult tragic roles in recent years, it is handled throughout by Miss Russell In superb fashion.

KING’S THEATRE “Mad Heliday” A movie within a movie—the murder of an international jeweller on a coastwise steamship between Los Angeles and San Francisco—a second murder in a Chinese theatre in Ban Francisco’s Chinatown—these are the ramifications of one of the most unusual mystery dramas to reach the screen, “Mad Holiday,” which screens at the King’s Theatre to-night, with Edmund Lowe and Elista Landi in the principal roles . The “movie within a movie” angle of the picture centres upon Edmund Lowe appearing as a Hollywood star who, sick at being typed in mystery parts, walks off the set and tak*es the Miss Landi, playing the author ot the fateful coastwise steamer voyage, picture out of which he has “walked”, also embarks oh the steamer, determined to bring the actor back at any cost even to devising a make-believe murder. When the hoaxed murder turns out unexpectedly to be a real one the complications begin. The occurrences both abroad and in the weird Chinese theatre are full ot suspense and interest but the picture achieves more of a distinction in not taking itself too seriously but rather in kidding itself and mystery plots in general. To this effect the appearance in the supporting cast of Zasu Pitts and Ted Healy, an uproarious comedy team if there ever was one, was a master stroke of casting. Equally, ingenious was the casting of Lowe as the hero of the picture within a picture, and Miss Landi as the author.