ENTERTAINMENTS

Manawatu Standard, Volume LVII, Issue 210, 5 August 1937, Page 3

ENTERTAINMENTS

REGENT THEATRE. “ELEPHANT BOY.” A new and remarkable boy star is introduced in “Elephant Boy,” which Alexander Korda is screening finally to-night at tho Regent. He is Sabu, a 13-year-old Indian lad who was discovered in India by Robert Flaherty, co-director of the film, working ill tho Maharajah’s elephant stables. This naive, unaffected child is one of tho most delightful personalities ever brought to the screen. Women will love him—his smile alone will take care of that. “Elephant Boy” is rare and restful, entertainment, right off the beaten track. The story, based on “Toomai of the Elephants,” one of Rudyard Kipling’s “Jungle Book” yarns tells cf a little Indian boy, son of a mahout, who dreams of the day when lie, too, will become a groat elephant driver like liis famous grandfatlior, the ronownod “Toomai of the Elephants.” Littlo Too mai's father is killed, and the boy mourns with Kala Nag, his favourite elephant, a giant tusker. Kala Nag attacks his new fVivcr and ruins riot. Fearing disaster Petersen Sahib, tho .white hunter, decides to shoot the huge beast; but little Toomai boldly approaches his elephant friend and soothes him. Owing to a misunderstanding Toomai runs away with Kala Nag into tlie jungle that night. Petersen leads a party in search of them. Toomai is found utterly exhausted but ho bears nows of an enormous herd of elephants in tho vicinity. A stockade is built, beaters arc hastily assembled and there follows an exciting round-up in which more elephants are caught than have ever been known before. And the happy boy returns to camp proudly riding Kala Nag, not as Little Toomai. but as Toomai of the' Elephants. “GOD'S OWN COUNTRY AND THE WOMAN." How life in a lumber camp ami a girl of the backwoods make a man of Steve Russett. formerly the “waster” of tho family, is the story in “God's Own Country and (tic Woman,” the latest Tcchnicolour film from the Janies Oliver Cunvood novel, which will start to-morrow at the Regent Theatre. Tho part of Steve is taken by George Brent, who capably fills the part of the man of fashion. lie is recalled by nn angry elder brother, jeninr partner in the Russett Timber Company, who takes him by force lo the lumber camp. Soon after arriving ho goes off in an aeroplane but is forced down near the Barton lumber camp, which bus a feud with the Ruis&ett company over a right of way. There is no way out, as all approaches are picketed by Ru&sott men, who do not know Stove; so be is set to work in tho timber on rmin of starvation, by the beautiful red-haired Jo Barton, who lias taken charge of the camp since her father’s death, and whom Steve’s presumption has antagonised from the start. Under ail asstimod name be makes himself indispensable in the camp and in the end turns the losing light against tho Russett company in her favour by dynamiting a lingo jamb of logs under fire. The river and lorost scenee in tcchnicolour and tho picturesque lilo in a modern timber camp, working at high pressure, give the romance which runs through the film a delightful setting. STATE THEATRE. “SEVENTH HEAVEN.” The tenderest romance of our time lives again on the screen when “Seventh Heaven,” the Twentieth Century-Fox production of Austin Strong's immortal love story, opens to-morrow at the State Theatre, with Simone Simon and James Stewart in the starring roles. Adapted from the stage play produced and directed by John Golden, “Seventh Heaven” recreates for screen audiences that star-cross-ed pair of Montmartre, Diane and Chico, two lovers who lift your heart to the stars. As the littlo street waif, Diane, Simone Simon surpasses all hopes expressed for this sensational French screen find, touching tho deepest places of your heart and emerging gloriously as tho screen's newest and greatest star. Opposite her is James Stewart—tall, laughing, grey-eyed—as Chico of tho valiant spirit and tho shy, yearning love. Alontmartro, most colourful and exciting of all sections of Paris, serves rs tho background of “Seventh Heaven,” a background rich in picturesque settings and characters. There, in 1914, Chico spends his days working in the huge, subterranean Paris sower. Unfortunately for Chico’s belief in God, neither of his requests to Heaven has been granted. He has not been made a street-washer, so that lie could breathe tho clear air of tho streets above, and lie has not been sent an in intelligent, fine wife. C'liieo saves Diane from being beaten to death by the owner of the notorious “Hole in the Sock” cafe, who has reared her from childhood. When gendarmes start to arrest Diane for throwing wine in the face of a customer who annoyed her, C'liieo saves her by posing as her husband. The gendarmes take his name and address, promising to cheek up their life from time to time. Chico finds • himself stuck with his story, and is forced to live it out, taking Diane with him to the littlo garret from which ho watches the beauties of the heavens at night, to forget tho dank sower in which lie toils alt day. When the war comes, and Chico is culled to the army, he realises that ho is in lovo with Diane, and pledges to return to her in spirit at 11 o’clock every day. Diane keeps the tryst, even after the Government publishes the news that Chico has boon killed. Few scones in motion pictures arc more moving than that in which Chico returns to Diane, bringing a surprising conclusion to what is justly known as the tenderest love story of our time. Darryl F. Zanuck, vice-president in charge of production at Twentieth Century-Fox, chose Henry King, tho Academy prize-winner responsible for “Lloyds of London,” to direct “Seventh Heaven,” with Raymond Griffith associate producer. Molville Baker wrote the screen play, in which appear such prominent players" as Jean Horsholt, Gregory Ratoff, Gale Sondcrgaard, J. Edward Bromberg, John Qualcn, Victor Kilian, Thomas Beck, Sig Rumann and AJady Christians.