ENTERTAINMENTS

Manawatu Standard, Volume LVII, Issue 208, 3 August 1937, Page 3

ENTERTAINMENTS

MAYFAIR THEATRE. “CALL IT A DAY.” 3 What the balmy breath of spring’s first - clay does to slumbering hearts is 1 lie - theme of a delightful comedy-drama cnl titled “Call It a Day,” a Cosmopolitan , production released liv Warner Bros, and screening at the Mayfair finally toi night. I lie subject is appealing. As a stage ■ play, “Call It a Day” ran for a couple of i years in London:, then for more than a year in New York. “A FAMILY AFFAIR.” A story of typical American small town life that is certain to touch the hearts of millions is revealed in tile pietuie, “A Family Affair,” which sho>vs at tho Alayfair Theatre tomorrow. With Lionel Barrymore and many of the cast which appeared in “Ah Wilderness!” file new film draws a poignant picture of the average home in any small town. The cast includes Cecilia Parker and Eric Linden, who portray the young romance, with Alickcy Rooney, Charley Grapewin, Spring Byington, Julie llaydon and Sara Haden. The director was tho reliable George Seitz. Barrymore, whose ability to play character roles has made him America’s foremost star in that field, enacts the part of a county judge in a typical small town. Trouble descends upon the family as it does usually in real life, not singly, but in squadrons. First, an elder married daughter indiscreetly brings the shadow of shame upon the house. Tho younger daughter' quarrels with her fiance and when tho old judge makes a court decision against a project I which his follow citizens want, the chaos is pretty complete. It is then that Barrymore, as the courageous justice, sots out to battle for his family love and tho restoration of the esteem in which his townspeople once held him. He averts divorce and setllcs the domestic diflieiJi ties of tho older daughter, then proves to I th town that his decision prevented what | would unquestionably have been disaster, j The role is particularly suited to Barry- | more and his supporting cast gives an ex- | ce’Jent performance, individually and collectively. “A Family Affair” will prove an entertainment treat to every member of the family. KOSY THEATRE.

“Oil, DOCTOR 1” Can you imagine Edward Everett Hot ton as Tarzan? Can you pietuie the tall comedian as a human fly? Can you visualise the Ilortou you’ve known as tho reckless driver of a 100-mile an-hour racing car? Impossible! Believe it or not, Edward Horton plays a combination of Tarzan, human fly and racing driver in Universal's comedy, "Ob, Doctor 1” which is screening finally to-night at the Kosy, Tho picture is bused on Harry Loon Wilson’s novel of the same name. His Tarzanosque tnlnnls appear when he wrestles with a gorilla. He luiman-fiies up and down tho sides of buildings, lie becomes a speed domon when he drives his car at heiter-than-a-hundred clip. Morton does his unusual stunts in the role of Ned Bil lop, leading character in Harry Leor, Wilson’s' great best seller of a few years , back, which Universal has placed on the , screen. He is seen os a liypochrondriac who falls in love. lie does the daredevil stunts to impress the lady of his choice , with the fact that ho is a Letter man than his rival. ,

The exciting adventures of a race track sleuth, one of those hardy, hard-bitten track detectives whose job is to keep the sport of kings out of the hands of tho underworld lords, provides llie theme and action of Columbia’s “The Frame-Up,” The story, adapted to the screen by that Hollywood uee of action drama, Harold Shumate, relates tho events preceding the running of the Granville Sweepstakes. With a number of gangsters and bookies over running the town on the eve of (he big race, Paul Kelly, in the leading role of Mark MacArthur, chief of State Racing Commission detectives, decides to investigate tho cause, of the sudden influx of gangsters. Ho discovers first 'that most of the underworld money is being put on Red Roger, a poor entry running at big odds. Further investigation discloses that Red Roger is a fake, a “substitute” that lias been expertly camoulflaged to get by the officials. By accident, Kelly discovers that the bogus Rod Roger is really Billy G, a track re-cord-breaker reirorted to have died some six months before. Kelly boars his knowledge to Robert Emmett O’Connor, head of the gambling clique, and threatens to have the horse “scratched” on the day of tho race.