"VARIETY."

Press, Volume LXIII, Issue 18926, 15 February 1927, Page 13

"VARIETY."

THE ACME OF PERFECTION.

This l» the picture which ha. set tongue* a-wagging and pent a-flying; thlaja the picture which hai stirred our Jlngolsteto expletive and emotional acta of faith;.the picture whose advent, has delighted serious student* and men and women of vision and One commbnsepse; the picture wMeh has set a new standard more In film technique than. In actual mumming and direction, although both of those aspects are marvellous enough. "Variety." from the world-famed U.F.A. Btudios In Berlin, released by Paramount, commences its season at the Grand Theatre on Monday next, and is unquestionably not only the greatest picture, in every possible way, which has ever graced «» Mreen, but the finest attraction to be exhibited.at that theatre. Before the sombre and almost terrible realism of "Variety," the maker o phrases gropes In a mist of whirling thought and idea for Just the right word, the right term, to give to this picture. Continental and American critics have thrown reticence to the winds when making their reports upon "Variety," and no one can accuse the Americans or the British of a very touching affection for the Teutons. These writers Have recognised in this German film all that other productions have so palpably l««ed: Its sure, steady march towards preordained factsHu almost living drama: UiM. emotion: its courage and truth in P»<»«<>? the human wreckage of life in its natural colours of grey. These men. have, also recognised that art has no »»* ,o » ,H, fc v TJJJ 1 ? critics are unanimous in voting variety the greatest motion picture ever made. Even the "National Board of Review M»ga»lne, a conservative journal which Is not giveni to extravagance, says: "Once in a ««»•»£<• tnre so unusual, so strictly a motion picture, comes along that the critical eye is opened wide, or it seems to be seeing for the first lime that the praiao «l>»t has been bestowed on films In the past seems then to have been overwrought and ill-considered. .. .' Th«e Is nothing sordid in "Variety." though it has token a triangle out of the m»*le-''»» »»» followed ruthlessly an they tread the P»™ r °" path of dalliance. The story buildsMri tjpicn Teutonic fashion, marching Inexorably «°"» pre-destlncd tragic climax. The director. Hcrr Dupont. has not missed one single point in fashioning the story as an Impressive study of -realism, and his flares stalk Ufe-Mte across the screen. It Is told In the flashback style, with Jennings (»««**■ .«"£{ as the bitter memories unfold One Is not amused by "Variety." not *>"• *J»™?! my dear!" nor even fascinated •f»«n«* ° ne » wish. It is difficult to say what w«WM one's emotions, for it affect, one uerital to one*, temperament and Ptf chol 2™ ■"?-!! should affect Britons powerful y and POl«M« lv, as the creation, the raeUlly typical creation, of Teutonic brothers. There l» » fatalism about the whole thing that grips.lmmediately, and does not release its hold until the last tremtflols flicker, a P«"P« C «]" °! waving branches and the blue skies of free dom. One thing Instantly impresses about this picture. It is the small number of subtitles In'the film. The screen is wt Jjooded with sentimental and obvious "PHo". but the drama LIU, Itself, in rau.iear ill •* dued tones, In Its peerless technique. In Its superb acting. Emfl Jann lap. Uof Quo Vadist" "Pawlon." and "The Ust Laugh f?m.pUy.thi leading "le. certainly hU best effort to date, and not far behind Mm In the conception of what »he represent. ULya de Puttl. Jennings is a giant, a giant of physical-strength, a giant to bla emotions, everything he does. Is lar* and b'g -and great—eblldllke In his constant effort to _sbow off. terrible when faced by treacherr. «>»«™;5: cent In his alienee, pitiablei In hie fall, jrreat in his resurrection. As ••.Variety."- I» «?•»*. •o 1» iti (tar, ~._