TALKING PICTURES.

Ashburton Guardian, Volume 55, Issue 271, 29 August 1935, Page 8

TALKING PICTURES.

CHATS ABOUT THE CINEMA.

(By “ Spotlight.”) • More beautiful of voice and of face than ever, the lovely Jeanette MacDonald has what is undoubtedly the finest role of her career in Metro-Gold-wyn-Mayer’s “Naughtey Marietta.” It is a film adaptation of one of Victor Herbert’s famous musical romances, and is one of the most glorious musical shows ever filmed. The story deals with a French princess, who, rather than obey the dictates of her uncle, and of the King of France, and marry a nobleman whom she despises, runs away and joins a batch of girls who are leaving from Havre for America, where they will become the wives of colonists. The rest of the action takes place in New Orleans, where, after many adventures, tho princess finally marries the man of her own choice. Miss MacDonald is superb as the princess, her voice being heard at its very best in several very tuneful numbers, including the well-known “Ah, Sweet Mystery of Life.” She has the able assistance of Nelson Eddy, who has a magnificent baritone voice, an excellent stage presence and is also an accomplished actor. The duets are the hits of the film. Elsa Lancaster and Frank Morgan are also prominently cast. Tho settings are most elaborate,, and the outdoor scenes truly magnificent. “Naughty Marietta” is a show no one should miss seeing. This- nice record-breaking film will commence an extended season of four nights a,nd two matinees at the St. James Theatre, Saturday next.

M.G.M.’s “David Copperfield” is in its fifth week at the Capitol, New York. This is a record for that theatre.

A Swiss Star. Dorothea Weick (pronounced “veek”) who will be seen in Paramount’s “Cradle Song” at the St. James on Thursday next, was born in Switzerland of a family whose ancestors include the geeat German composer Schumann. She won fame as the result of her performance in the German production “Maedshen in Uniform,” which, on account of its German dialogue, was not released in this Dominion. Her appearance in 12 further German productions j brought her national fame as a commedienne, and the nickname “the Mai’y Pickford of Germany.” Paramount Films tjien signed her for a term and “Cradle Song,” her first Hollywood effort, places her on a level with such famous artists as Greta Garbo and Marlene Dietrich. ./

You can get anything you want in this world, if you only want it hard enough, says Maurice Chevalier. And no one has bettbr reason to believe in this oft-doubted old adage than the gay singing star who, as a pathetic little Paris slum boy dreamed a fantastic dream —and lived to see it turn to reality. The vision, of himself dancing beside the incomparable Mistinguette, toast of the Paris public halls, was the dream .that filled the impudent head of small Maurice as he worked as joiner’s helper, chandler’s boy and nail factory apprentice. While still a child he broke into “show business” singing Comic songs in ( a cheap cafe for fi few francs a, week. The way up was slow and not noticeably smooth, but Maurice kept his dream ever before him, worked hard, and finally, found himself in the “Folies Ber- \

geve” in which. His , idolised Mistinguette was starred, ©he noticed the gifted lad and eventually made him her dancing partner. History repeats itself on the screen, whore Chevalier is again starring in tlio “Folies Bergere”—this time in 20th Century’s’lavish screen adaptation for release through United Artists. Norma, Shearer, M.G.M.’s popular star, is going to London shortly to make her first British film. M.G.M. afe opening their own studio in England for this purpose.

Laughton as Comedian. “Although I have played a number of comedy roles on the stage,” says Charles Laughton, “I didn’t fully realise the difficulties of being , funny till I began ‘Buggies of Red Gap,’ my new Paramount picture. For although ‘Ruggles,’ as written by Harry Leon Wilson, is an amusing figure in himself, he has an underlying strain of dignity that must not he forgotten, no matter how funny his adventures may be. It is easy enough to play a sinister character throughout a picture, but comedy roles such as ‘Ruggles’ present a different and more diffidilt problem.” Laughton says that he is intensely curious to discover how audiences will regard him as a comedian. With Laughton in the new Paramount picture fire Mary Boland, Charlie Ruggles, Zasu Pitts, Roland Young, and Leila Hyams. Leo McCnrey is directing.

“Forgotten Men,” the British International picture which, was privately screened in Wellington recently, was reputed hy critics to he the most ardent piece of anthwar propaganda ever to be brought to the screen. The film opens with an address by Sir lan Hamilton, and one is then introduced to the well-known historian, Sir John Hammerton, who throughout the film discusses with a number of veterans their experiences during the Great War. There is no hero, nor is there a heroine. The picture is made up of scenes—all claimed to he authentic—taken on the numerous battle- J fronts between the year 1914 to 1918. One is introduced to the terrible fighting on the Somme, to the mud and slime and mutilated bodies at Passchendaele, to the trials and hardships of frozen Italian gunners in the Alps, and the heat and flies that wreaked such havoc with the British troops in Mesopotamia, to the war on the sea and the war in the air, and yet again to the suffering and trouble that: beset those left at home. The producers have not kept anything hack. Every phase of modern warfare in all its frightfulness is vividly pm-trayed.

Definite confirmation that “The Hunchback of Notre Dame” is to be produced as a. gigantic tailring picture is forthcoming in an advance announcement concerning tho 1935-30 schedules.