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1 correction by lucy1934 - Show corrections

PRIVATE VlEWS

Films are seen by our critics at trade screenings    

arranged by film distributors. The reviews,     therefore, sometimes appear on this page con-     siderably in advance of releases in metropolitan    

theatres in the various States.

"UP FOR THE DERBY"

"UP For the Derby" is a fast-moving comedy with Sydney Howard the   star of the production. He portrays to perfection the part of a Derby winner's owner—an entire departure from his

usual roles.

Sydney Howard backs winners and losers, but it matters little which wins, as he is invariably broke. At one junc- ture Howard visits the Epsom Downs armed with a huge alarm clock—he is ready to time a horse!  

Dorothy Bartlam supplies the feminine  

charm to the production. Tom Helmore, as Dorothy Bartlam's gambling brother, fits his part admirably. Mark Daly and Frederick Lloyd supply some of the laughs.—British Dominion Films.  

* * *

"YES, MR. BROWN"  

THE production, a musical comedy, contains several tuneful song num-   bers which, delivered in Jack Buchanan's  

inimitable way, are sure to become popu-

lar hits.

Buchanan appears as a branch manager of a toy manufacturing com- pany. The proprietor, Hartley Power (Mr. Brown), wishes to see the sights of

"the big city," with Buchanan as his  

cicerone.

As Buchanan's wife persists in an- nouncing her intention of "going home to mother" at the most crucial moments, she wrecks most of Buchanan's plans.  

As a result, Elsie Randolph is called upon   to impersonate Buchanan's wife. Numer-  

ous brilliant sequences played between Jack Buchanan and Elsie Randolph, as   they try to preserve their "guilty secret,"  

are very diverting.

Margaret Grahame, George Ridgewell, Clifford Heatherley, David Blane, Anna Lee, and Muriel George complete the cast.—British Dominion.

* * *

"GOLD-DIGGERS OF 1933"

A TRULY amazing production is "Gold-Diggers of 1933," with Joan   Blondell, Warren William, Ruby Keeler, Dick Powell, and Guy Kibbee in the leading roles.  

Joan Blundell is present practically throughout the show—figuring with others in humorous specialities—and from first to last her genial unforced comedy is sheer delight.

Sketches, varied and laughable, inter- sperse ballets and spectacles that are spellbinding in their richness, beauty and splendor.

We hand it to the producers. "Gold Diggers of 1933" is a film that stands alone. Of that particular type it is un- equalled by anything previously pre- sented in Australia.—Warner Bros.

* * *

"LOYALTIES"

THE picture "Loyalties," adapted from

John Galsworthy's play, is chiefly of psychological interest, with Basil Rath- bone, Miles Mander, and Heather That- cher in the principal roles.

It deals with the position of the Jew in modern society, a subject to which added interest attaches as a result of the upheaval in Germany on this point.

Basil Rathbone's interpretation of the young Jew, de Levis, his feelings and passions, is displayed with the art of a master actor. Rathbone gives his finest performance to date in "Loyal- ties." His thin features and generally emaciated appearance add to his fas- cination. It has been rumored that Rathbone is himself a Jew, but perhaps this suggestion is merely a tribute to the sincerity of his portrayal of that role.

Joan Wynham, Alan Napier, and Philip Strange are others in a well- chosen cast. Interest is sustained throughout the production, which is well worth seeing.—British Empire Films.

"DR. BULL"

WILL ROGERS, with his quiet, unas-

suming manner, takes all the laurels in the title-role of "Dr. Bull."

Rogers practises in a country town,

where he is at the beck and call of un-   grateful patients. Tearing out at mid- night to urgent cases and staying up all night with a paralysed boy are regarded as mere incidents in this medico's life, nor does he offer a murmur of protest. But when Dr. Bull visits Vera Allen, a widow who supplies the town with milk, a little more often than the neighbors think correct, he finds himself so com- pletely compromised that his practice is at stake, despite his former devotion to the community at large.

Marion Dixon is worthy of mention as an ever obliging telephonist and, what- ever the considered opinion of the pro- duction itself, the story is certainly cal- culated to give those members of the audience with gossiping propensities some wholesome food for thought.—Fox.

* * *

"TURN BACK THE CLOCK" THE story centres around two married

couples who have known each other since childhood. They are Lee Tracy and Mae Clarke, Peggy Shannon and Otto

Kruger, respectively. With the exception of Lee Tracy, all take their parts well, and are a delight all the time they are before you. Lee Tracy is inclined to be- come rather uncouth at times and quite unbearable, but the others are quite de- lightful.

The theme of "Turn Back the Clock" is new in the ground it covers. It de- picts a man who lives his life over again while under an anaesthetic, and does en- tirely the opposite to what he has done in reality.

Although Lee Tracy is not at his best, the picture is well worth seeing.—Metro Goldwyn-Mayer.

* * *

"TWO MINUTES' SILENCE" "'TWO Minutes' Silence,' I think, was  

the hardest job we've ever tackled. Obstacle after obstacle crowded in on us. ... at times it seemed almost im- possible to continue. But we realised we had to, and. . . . well. ... we just did. Difficulties and delay were a nightmare. But we managed to pull through."

Thus the MacDonagh sisters regard- ing the film that achieved a sensational success in Canberra on the occasion of its world premiere before Parliamen-

tarians last week.

In 1926 the McDonagh sisters decided on an attempt to realise a secret am- bition—the production of a successful Australian film — though successful films produced in Australia were as rare as soda fountains in the desert. With a small amount of capital and a large amount of courage, they set about the business with fire and fervor.

"Those Who Love" was their first pro-

duction, and now, after seven years, "Two   Minutes' Silence" represents the fulfil- ment of their ideal.

Miss Paulette McDonagh is the only feminine film director in Australia, and among the five women who do this sort of work in the world. Leo Franklyn, Frank Leighton, and other members of the brilliant cast in "Two Minutes' Silence" give magnificent performances in their first appearance on the screen. But Paulette McDonagh, who en- couraged, helped, cajoled, and reproved them is the shadow behind their suc-

cess.

Phyllis is a successful authoress, scen- arist, and art director; Isabel an ac- tress of rare beauty and feeling.

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