FILM SOCIETY'S COLUMN

Auckland Star, Volume LXI, Issue 33, 8 February 1930, Page 5 (Supplement)

FILM SOCIETY'S COLUMN

"TEN JUST PERSONS."

SOME SCENES WHEREIN THEY SHINE.

A PERSONAL VIEW.

(By JOHN, STORM.)

Those who see in the talkies nothing but a sheer calamity disseminating ugly accents over the earth may be approached after the manner chosen by, the prophet, of old. Even as the city of which it is recorded in Scripture, was to be saved from destruction if "ten just persons" should be found in it, so we may find the ten that will save the talkies. These must be, as well as vocally irreproachable —accent and enunciation included — histrionically pliant, ,if not . dramatically splendid.

Playing the part of the Prophet, and choosing out of the midst of the deadly dialect of Hollywood I; offer three women' and seven men from the talking screen.

The chosen shall be Ruth (ihatterton, Fay Compton and Vilma Banky among women, and of a large number of men, Victor McLaglen, Lewis Stone, Ronald Colman, Claud Allister, Charles McNaugliton, Rex Bell, with Adolph Menjou and his slender voice and half French accent for the last.

Tens of minors are following these majors and tens of tens are trying hard to imitate, them. .This gives rise to interesting speculation, which is, however, beside the point. Also I make no reference to the voices or the players in "Blackmail." Obviously the first British talkie, though-distinguished for its . excellent directorship as well as clear speech, does ;> not : come in here as it does not' como from Hollywood. " ■■

Ruth Chatterton for the moment is the marvel of the talkies, passing with honours all the tests that poster critics, destructive critics, and real critics can apply. Her remarkable performance in

"Madam X," though forming but tho "piece de resistance" to melodrama of the virulent type, will be remembered as a , masterpice of acting. In it she pictures tho gradual disintegration of the personality of a woman enmeshed by circumstance, and the sudden reassembling of all her forces for one act of renunciation.

Ruth Chatterton it was also that saved the situation in "The Doctor,' that disastrous attempt to place what "Ecran" describes as Barrie's "delicately cruel Half an Hour" upon the screen. Pages could be written on the folly of such an attempt —the one thing the screen cannot do —but a single sentence will suffice to say that I would wish to see the whole film over twice to get the full force of its tremendous "forlorn hope." If even a great actress cannot lead the talkies where the talkies cannot go she will yet, in her attempt, show

her metal. This Ruth Chatterton did. Possibly she stood at the peak of celluloid achievement beyond which the best than anyone could do would burst into flame and 1 fall to ashes;-the point where -the human heart, if it but heat itf time with its audience, would take wings and lend wings to each heart on the other side of the footlights. ■.

Fay Compton I have seen in talkies only' once in that-slight and joyous piece of nonsense with Adolph Menjou, "Fashions in Love." If one had those missionary feelings for-the good of the world, so prominent-in the conversation, of the anxious, one would be gladdened to know that the strangely dovelike tones of Fay Compton, unimpaired in the recording, go round the world. The comedy without doubt must haye been specially set to show off Adolph Menjou in his favourite role, i and those who appreciate his cameos of the _ silent screen could not fail to enjoy his performance, enhanced as it was by the cultivated voice and slight French accent, .but the moment of genius in the. play was undoubtedly Fay Comp.ton's. In the midst of a series of lightsome scenes with Adolph in his life part and at his charming best, Fay Compton has lier moment. As the wife of the distinguished composer she agrees to sing one of his songs. Her movement across ■ the' room, her murmurings to herself half to be shared by her audience, lier seating herself'at the piano, all cast a spell and cause us to remember that the world at its worst allows grace in little things, if we have grace to try.

The last of the three is, the lovely Viennese Vilma Banky, who, appearing in her first talkie, lias learnt enough English to say some v/ords beautifully. Of the men everyone will call to mind the sprightly performance of Ronald Colman in "Bulldog Drummond," his first talkie, and how his voice added to the charm of it. Everyone will also remember the solid fineness of Lewis Stone—he is an actor like old oak—in several talking parts, possibly the best remembered as foil to Rutli Chatterton in "Madame X." The startling simplicity of Victor McLaglen, the soldiei actor, and his perfectly natural musical voice in the "Black Watch will stay in everyone's mind too. The small adroit part of the burglar in "Pleasure Crazed" will less likely have attracted notice," but the man is an actor a,id his epeech' is "a jewel. Charles McNaughton as "Jimmy" of "Three Live Ghosts with tlie peculiar quality of litlieness in his acting—as that of a gentle tiger -must speak ;as a' coster, but this , needs a

cultivated voice or the slightest real imperfection would show out through the distinctive irregularity of'the "East End." I give the honours, if specially to any, to Claud Allister. His inimitable performance as Archie in "Bulldog Drummond" everyone will remember, but I think he has his great moment in "Three Live Ghosts." When as "Spoofy" he suddenly awakens from shell shock and,. lookijng on the hands of his two friends, first the one and then the other, from the hand up to the face, says "You were there" and "You were there too."

When this article was written I had not yet heard Gloria Swanson's fine voice—which promises to become a feature of talkiee —nor had I witnessed her reserved and most dramatic performance in "The Trespasser."

The society would draw attention to the quality of the acting. in both "The Lady Lies" and "The Trespasser," and to the fact that a higher dramatic standard is becoming the rule in "talkies."

FILMS FROM INDIA.

AMATEURISH BUT POPULAR

Despite the crudeness of their technique, Indian film producers are succeeding in producing films which enjoy great popularity in their own country. "They are infinitely more popular with Indian audiences than imported masterpieces," Mr. A. H. Green, Acting Trade Commissioner for India, stated recently. ■

Mr. Green was lecturing to members of the Royal Society of Arts. "As a member of the Indian Cinematograph Committee," he said, "I soon discovered that Indian films are being produced in astounding numbers, that, despite their great technical inferiority, exhibitors pay higher rents for Indian films than for any foreign productions, except some featuring a few well-known stars.

"The average cost of producing a feature film in India does not exceed £1000. Hindu mythology supplies the most popular scenarios, and the Indian sun makes elaborate studios and artificial •lighting unnecessary.

"That the cinema is an influence for good in India lam convinced. At present it only touches the merest fringe of India's millions, but it is undoubtedly educating .them in some^mewrare."