ST. JAMES' TALKIES.

Auckland Star, Volume LX, Issue 306, 27 December 1929, Page 5

ST. JAMES' TALKIES.

A BRILLIANT OPENING. ALL-COLOUR; ALL-DIALOGUE. The success of sound reproduction in talking pictures at St. James' Theatre is but°another example of the advantage held by a theatre in the design of which acoustic properties were the moat studied item. St. James' was built to house musical and dramatic productions, and to this must be credited the clarity of sound in the theatre and the enjoyment with which its film entertainment can be seen and heard. "The Home of Warner Brothers' Pictures" is a secondary designation which the theatre has assumed, and if the product of that studio in the future is ol the same quality as that which the management, selected for its opening last nfght, then entertainment at St. James' will become a standard by which others can be judged.

"Gold Diggers of Broadway," the pr.ncipal attraction, is to the talking picture era what some of the mammoth productions of years ago were to the silent age. It has been directed in sound and filmed in tcchnieolour throughout, and the finished work is an array of brilliance, not only pictorial]}", but "also dramatical',;,-, which will be remembered as the herald of a new age of film production—the first all-colour talkie. "Gold Diggers of Broadway" cannot be put into a class with other pictures, for it has had no forerunner. It marks the birth of new entertainment. While it may lack (he distinctive qualities of the intellectual, or even the intelligent drama, it is firstclass entertainment. Without its colour, the film would still be a top-grade production in sound, and without its dialogue it could still occupy a high rung on the ladder of quality. The flimsiest of plots has been used a? the pivot for a cycle of brilliant stage presentations. _ A boy. wishing to marry a chorus girl, fears the refusal of his uncle, upon whom he depends, and to convince him that all chorus girls arc not gold diggers, accepts the assistance of his sweetheart's friend. After a succession of reverses, the scheme is successful. Into that story have been woven scenes of sparkling revue. When audiences saw "The Wedding of the Painted Doll," the first colour scene in talkies, they accepted it with feelings of wonder and admiration. Each stage presentation in "Gold Diggers of Broadway" is on a par. so far as photography, costumes and production arc concerned, with that brilliant first number.

Another boast which can he made for the picture is that the cast has been chosen entirely from leading stage artists. Nancy Welford plays the role of "chief gold digger" with a distinct charm, and her performance is equalled only by that of Winnie Lightner, who carries the whole of the enmedy. The film brings the welcome return to the screen of Comyay Tearle. who has with him Lilyan Tashman, Helen Foster. Ann Pennington and Albert Gran. The picture contains several catchy musical numbers, all of which arc introduced by NicK. Lucas, known on gramophone records as "The Crooning Troubadour." The film >s from A very Hop wood's play, which was produced by the famous David Belasco.

A budget of enjoyable supports which provide a. delightful variety of entertainment, is also screened. "Orpheus" (Offenbach), is played as an overture by the Yitaphone Symphony Orchestra of sixty instruments, and other numbers arc vocal selections bv Van mid Sclicnk; banjo items, by Eddie Peabody; a comedy featuring n clever Yiddish comedian; and a dancing number entitled "Serpentine," by (he Yitaphone Girls, who provide a display of first-class ballet and formation work.