Cinema Reviews

Press, Volume LXX, Issue 21355, 24 December 1934, Page 9

Cinema Reviews

regent "GREAT EXPECTATIONS" —/ Rarely have the special qualities of an author's work been so well con«£n ed «r 0 nt h< \ SCreen as in the fil ™ version of Charles Dickens's "Great Extho L R*2 nS V J£ hich he San its season at f!i.^^V g^t , Theatre on Saturday. The mm itself, however, is strong 'enough vo stand on its own feet—without the aicl of the name of Dickens. It tells a ," unusual and humanly interesting */' an J\ U is admirably acted. Many film versions of famous novels are patronised merely because of the n . a . m l °1 )he a «thor or of the book attached to them. Too often thev are incoherent, boring, and over-sentimen-tal, and even their relationship with the book whose name they bear is very remote. "Great Expectations" is not one of these. Its story is wellKnit together, never too complex, and it has a splendid movement. It is unfailingly interesting, its sentiment is maintained in proper proportion, and it is faithful to Dickens. What is most remarkable is that the film gives a new impression of the inventive greatness of Dickens as a story-teller. This is noteworthy in a generation when most of the younger people either do not know Dickens's work, or slight it because it is fashionable to pretend that sentiment is unworthy of an artist. It. is true enough that Dickens too often—in the fashion of his time—laid on the sentiment so thick that it is cloying to the modern taste. But the film, forced by limits of length to condense and select only what, is essential of the story, reduces the sentiment to a just proportion. It has another advantage over the novel because people to-day are sufficiently illogical to dislike talk or writing about sentiment, and yet to accept, as natural and even to enjoy its visual presentation. Dickens wrote for a younger and differently credulous world. His readers enjoyed meeting in his books eccentric —laughable or terrifying—people. In this they were much like the people of to-day, but with the difference that they preferred their characters to show their eccentricity in features, clothing, and everyday behaviour. Dickens wrote about oeople living in the sort of environment his readers knew, but he gave to it a strange light of his own. He seems to have seen his characters in a distorting mirror, but however queer or unusual they were, they were always human. It is just these qualities of Dickens's imagination that the film of "Great Expectations" has '' Pca ptured. Because this particular story is probably better suited than the rest of his work for dramatic presentation. "Great Expectations" is a remarkable and successful film. No finer tribute can be naid to it. than that its situations and its characters, and the problems I hey present, remain in the mind long after Ihe film has been seen. The film abounds in fine acting. Notablv there is Henry Hull who lakes the part of Abel Magwitch. the convict. Hull makes him a repulsive vet; tragically human creature. Florence Reed, as the partly mad Mips Havisham, is sinister, but she makes the part so much and so sadly alive that the old lady's tragedy and her strange life as a recluse become creditable. These two stand out, but the bov Pip, who is taken from a blacksmith's shop to be brought up as a young man of great expectations, is well conceived, and so is the gni Estella, who is brought up by Miss Havisham. , , ~ One of the unusual things about the film is that, though there is no ostentation of period furniture, decoration, clothing, or speech, the sense ot historical time is well conveyed. Jhe settings help the story, but I hey never t ;l ko rnmniand ot it., and in fact they are "hardly noticed. Such things a, ihe-f show the care and (he skiU ot those who have made, the film. "Great Expectation?" can be ip<""liitnondcfl as a thoroughly good Mm. I'L.AZA "THE BLUE MQCADUON"

Public appreciation of the features and possibilities of aviation has been made more easy and general by a succession of films, over a number ot years, presenting dramas concerning its various phases under war and peace conditions. There have been stories of adventure and combat on the silent and talking screen, and the i latter, with its equipment so well suited to exploit roaring motors, humming propellers, and the whistle and whine of the wind through struts and stays, has certainly played no small uart in making the public air-minded. ''The Blue Squadron," Ihe latest, of this flying series, and the principal film on the splendid holiday programme which began at the Plaza Theatre on Saturday, is a worthy addition to it. Its demonstration of flying, especially squadron flying, alone carries it to high rank among its kind. Complicated and spectacular aerial manoeuvres by scores of aeroplanes during a mimic battle, brilliant aerobatics during which some of the most daring stunting is performed by squadrons flying in formation, and Hying and parachute jumping over the alps are among the outstanding features the film presents. The whole of the flying is carried out by the Italian Air Force, and the display made is very impressive. The story is of secondary importance only, and in many instances the imagination has to be strained to break away from appreciating the real flying to consider the other features which fiction introduces. It. concerns the lives of two men—one a brilliant pilot and the oilier a brilliant technician. The lifelong friendship is made to strike many "bumps" because of a beautiful woman —the fiancee of the technician. The beautiful woman makes the same misfakes and acts very similarly to all beautiful women in such "triangle" plots. A novel twist is given (o this particular pattern of (he "triangle" by throwing the blame for all the usual complications en to the jealous fiance rather than on to the flirtatious fiancee. In addition to the general aerial manoeuvres there are some very good scenes taken from an aeroplane flying over the alps. These culminate with the landing of an aeroplane, fitted with skis, on a snow field—a spectacular performance. "The Blue Squadron" is worth seeing for its flying alone. The featured players are John Stuart, Esmond Knight, and Greta Hansen. The supporting programme is outstandingly good. Laurel and Hardy entertain in a slap-stick comedy—"Our Wife"—which is hilarious fun and "The Steeplechase" must be ranked as one of the best Mickey Mouse cartoons that. Walt Disney has produced. The presentation of Thunderbolt, the steeplechase candidate which was to have been ridden by Mickey, intoxicated and riding the two grooms, the antics of the horses approaching the start and the aerial manoeuvres of a swarm of bees must be seen to be believed. They represent perfection in this type of screen entertainment. There are also interesting gazettes and a good travelogue. The alterations to the foyer of the Plaza Theatre, carried out hurriedly and completed in time for Saturday night's programme, improve the general rypearance of the entrance and have aone away with hindering steps and offices. The box office, which was formerly in the centre of the foyer, has been replaced by a new one under an arch on the left of the entrance and the whole effect, of (he new foyer, carpeted, and gently sloping In Ihe theatre doors, is most pleasing.

TIVOLI "MALA THE MAGNIFICENT" The search for the unusual in film material has led the Metro-Goldwyn-Maycr company to the Arctic, and has resulted in a picture of great interest and many virtues. "Mala the Magnificent,'' which was shown at the Tivoli Theatre on Saturday, has few actors in it except Eskimos, and these latter, as actors, play their parts with a refreshing simplicity and intelligence. It is, of course, true that they are not called upon to portray complicated emotions or any form, of western sophistication, but within their limited range their performance is indeed good. Equally this restriction creates in (lie film an impression of honesty. The producers took as the basis of the story Peter Freuchen's novel "Eskimo," the theme of which is simple and dramatic enough, and in praiseworthy fashion kept that theme constantly before them, avoiding the error of overstressing the scenic part and so upsotting the balance. The hunting scenes, of which there are a good number, are excellent; but they do not appear heralded with a blare of trumpets, as if they were the only notable parts of the picture to which all else was subordinate. They appear, dramatic, unusual, and convincing as they are. as incidents in the struggle to secure food in a region of the earth where food is scarce. This is the chief factor in the life of the Eskimo community, and so the hunter, Mala, rightly apnears as the chief man of his tribe. The chase, harpooning and final capture of the whale, the polar bear, and the walrus are shown as thev occur. It is perhaps unnecessary to stress that the statement is a bald one. and might with justice be amplified to ereat length and coloured; but (Ms addition to it may be made, thai Ihe scenes are of ext-eme interest. Most amazing of oil is the hunt of the caribou, in which the are shown driving them down to the water in hundreds, following them out into it in their boats, and there killing them with ah available weapons. Other phases of Eskimo life are dealt with equally convincingly. The plot, in so far as that word can be appropriately applied here is concerned with the conflict caused when the representatives of two peoples, with widely different codes have dealings with each other. Mala's wife is ill-treated and accidentally killed; Mala, in revenge, kills the man who was indirectly responsible for her death, and is in consequence pursued and captured by the Canadian North West Mounted Police. His final escape from them forms the last scenes of the picture. The dialogue, for the most part, is in Eskimo, spoken expressively and with a pleasant lilting sound. Some individual scenes, in- addition to tho?e of the hunting, are excellently done. Mala, when the face of the man he has killed appears to him, is advised by the man of the tribe who is skilled in these matters to ask the spirits to change his name; his relief arM renewed happiness when, at the place where the snirits dwell, a bird's call appears to him as the new name *hey offer him, pre finely shown. His escape from the police outpost, his journey back, when he is compelled to oaf his dogs one by one. his finht with the wolf, a most dramatic interlude, all these deserve underlining on'v to a shphtly rrreater of the nieture. Humour is not lacking, and there is a faithful aremmt of thrx djstMoti'-" customs of (lie Eskimos. "Mala the Magnificent" is a picture vl-p'eh deserves very great commendation.

MAJESTIC "THK C; In I. FROM IMTPSOCRt" Having already won her reputation in the field of heavy romantic drama, Jean Harlow is turning her attention for it is being turned for her) to light comedy. The change is a welcome one. There are a good many actresses who can do what the Americans call the "heavy love stuff" as well as she can, but very few are such good Comediennes. Her last picture, "Blonde Bombshell," first marked the change; "The Girl from Missouri," which began a season at the Majestic Theatre on Saturday, establishes it. Miss Harlow is still very attractive and very alluring, but instead of swooning from one pair of arms to another Mie sets Ihe pace of (he picture from beginning to end wit It some excellent comedy work. She is cast as a young girl from Missouri, who decides early in life that marriage and a home are the only things worth having. She being as she is, the decision is a little unconvincing; but having made it, she follows it resolutely. She sets to work to find the most eligible and wealthiest man in New York. By a lucky chance she finds him more quickly than she hoped; she is even able to propose to him, and he accepts. Her cup is full. But he has accepted only because he is about to commit suicide, and when he does shoot himself she is left precisely where she started. She is a resourceful maiden, however, and next time she is a little more fortunate, for the millionaire she pursues has a son who, besides being almost a millionaire himself, is also very handsome and very ardent. She falls in love with him, he with her: and she is able to convince him, in a dramatic scene, of her sincerity of purpose. But his father takes a hand, and the latter part of the film is occupied with his efforts to compromise and dishonour her, and her very neat retaliation. The story is rcadbnably sound, the pictures moves well, and it is admirably acted not only by Miss Harlow herself, but by Franchot Tone (young millionaire!, Lionel Barrymore (father millionaire), and Lewis Stone (suicide millionaire), who are the three men in that part, of her life which wc are privileged to see. "The Girl from Missouri" was greatly enjoyed by a full house at the Majestic on Saturday night, and should have a good season. This theatre has always kept its supporting programme to a high standard, and this week's supports, headed by a Laurel and Hardy comedy, are, if anything, above the average. The comedy, "Dirty Work," detailing the adventures of Laurel and Hardy as chimney-sweeps, is extremely funny, and at times quite uproarious. There are also gazettes, a travelogue, and a Betty Boop cartoon.

GRAND "TIKKEY TIME" The Aldwych Theatre players are up to all (heir old-time tricks in "Turkey Time," which is having a ittuni season at the Grand Theatre. There is Ralph Lynn, Robertson Hare; end, of course, the delightful Mary Brough, with all her, determination to "stand on her dignity" and uphold her moral convictions. Written by Ben Travers, the story is naturally an ingeniously constructed series of ludicrous situations, to which added zest is given by clever dialogue. A good list of "shorts" will include chapter one of the thrilling serial, "Gordon of Ghost City." which is based on a story by Peter B. Kyne. The popular Buck Jones is starred in this exciting film, and others in the cast are Madge Bellamy, Walter Miller, William/Desmond, and Francis Ford. Box plan.- are at the D.I.C. '

CIVIC "LILIES OF THE FIELD" I Recently the typo of British comedy, popularised by Tom Walls and Ralph Lynn and their excellent team, which depends for its appeal on comic situations and sparkling dialogue, has been comparatively little seen in Christen tirch theatres. This fact alone would ensure a good soar-on for the British Dominions play, "Lilies of the Field," which opened a season at the Civic Theatre on Saturday night. But opart Irom possessing the invariable merits of its type, "Lilies of the Field" nas merits peculiar to itself which make it one of tlit; most delightful comedies seen here. Perhaps it docs not rank in scope and individuality with "Those Were the Days," but that is only because it deals more in the material of orthodox farce and has not the advantage of being a page from history. Winifred Shotter has appeared in most of the Walls-Lynn comedies, but in those she was naturally overshadowed by the principal male comedians. In the present film she shows herself to have an ability for humorous roles far greater than one would have suspected after seeing her only as a rather minor feminine lead. She is cast for the part of the twin daughter of the rector of an English village. She is, despite her bucolic limitations, possessed of a clever imagination, and when it comes to a contest, of wits between her and her twin sister as to who shall attract the attention of a handsome young collector of antiques, she wins without any trouble. It was natural, after all, to suppose that Ilia costume and manners of a young lady of the Victorian age would appeal to the young man's fancy. And, as it turned out, not only to his fancy, but also to that, of a great part of fashionable London. Complications occur, of course, in the best tradition of farces of this kind, and through a variety of delightful situations and nuances of humour the story runs on to an amusing climax.

The Rev. John Beverley had been, in the words of his own irreverent daughter, "a country person so long that he wouldn't know how to cross a London street." One Saturday afternoon he sat secluded in his study while his twin daughters disported themselves in an improvised gmynasium. The fair twin (Judy Gunn, it may be said, is in attractiveness at least the equal of her screen sister) played (he piano. The syncopated" music mingled oddly with the farmyard noises outside; but to the twins it suggested London, and there was magic in it. To these promising ingredients add (he sudden arrival of n very sophisticated grandmother and the handsome young • dealer in antiques, and you have the starting point of the medley of hilarious incident which follows. How Kitty ("the dark twin, who is Winifred Shotter) eventually went to London, it would be unfair to disclose; but it may be said that botli the grandmother and the young man were implicated. As for the Rev. Mr Beverley, there was really very little that he could do about it, one way or the other. General aspects of the film' worth, mention are the excellent scenes in the village, where picturesqueness and humour are admirably blended, and the even ability of the whole' cast. Hubert Harben, as the rector, is finelv suited to the part, and handles it without any attempt at vulgar caricature. Judy Gunn has already been mentioned, but it can be added that her performance suggests that, there are leading roles in store for her. There are some well-chosen shortfeatures, completing a programme of a high order. PREMIER THEATRE, NEAV BRIGHTON "Sons of the Desert" is the picture which will be screened at the jremier Theatre on the evening of Christmas Day at 8.15 p.m. Laurel and Hardy are the two artists in this great comedy, and both certainly excel themselves. Supporting them are Charlie Chase, Mae Clarke, and Lucien Littlefield, and with this combination patrons can certainly be assured of 'amusing entertainment. The box plan is at Hudson's, chemist, Seaview road, booking fee 6d extra.

CRYSTAL PALACE "AFFAIRS OF A GENTLEMAN" Victor Gresham, in "Affairs of a Gentleman," the film now at the Crystal Palace, says: "We don't just grow up; we change into many different persons one after another." What happens to a man when he has passed the zenith of his career, when he has changed from the finest and brightest personality of all to one that seems drab and sad and unreasonable? It is. of course, a question that is capable of many answers and one that must be decided only after personal consideration. Bvit taken to the screen as the theme of a mystery thriller, it has many interesting possibilities, not the least of which is the possibility that a great man may be proved to be no greater than his butler—indeed, in "Affairs of a Gentleman," the great man may be proved to be a great deal less in moral, mental, and every other stature than his butler. "Affairs of a Gentleman," emphasises this, and with many surprises. Victor Gresham was a novelist, and in the best-seller which he published each season, there were two outstanding characters. One was himself, and the other was a woman, generally another man's wife, with whom he had deliberately had "affairs" to create material. The women were all crazy about him. but Gresham's was a business eye, and when the affairs were over the women had to go. Where they went to, or what became of them, was not of more than passing interest to him. Gresham was writing the last chapter of "Frailty." supposed fo be his best work. When contemplating the climax, he made a remark to the effect that a man who committed suicide when he had passed the height of his career was very sensible. He also reproached himself with cynical words for his dealings with women What was more natural, therefore, than that he should be found dead m his study one morning with a note beside him in his own writing saying that he was going to take his life? There was one thing more natural, and i w . is carefully hidden until the last few feet of the film. "Affairs of a Gentleman" is good for more reasons than one. It is concise and even, with the dialogue sensible and natural. Its every action and every thought which it seeks to demonstrate are reasonable and coordinated, and the element of surprise, so necessary to this type of film, is alwavs present. The part of Gresham is played by Paul Lukas, whose restrained acting, combined with an obvious understanding of all that the role requires, is at once decorous, eloquent, and impressive. Gresham had some mad moment.* and some fierce ones, but even in interpreting these, Lukas does nox abandon himself. He carries them off with queer little mannerisms and expressive gestures which, one feels, belong to him exclusively. Gresham and Lukas are inseparable. Others in the cast who act well are Leila Kyains, Patricia Ellis, Phillip Reed, and Onslow Stevens. The programme of short films includes news reels and comedies.

LIBERTY "THANK YOUR STARS" AND "SLEEPERS EAST" The main attraction at the Liberty Theatre this week is "Thank Your Stars," a clever production, with the versatile Jack Oakie in the lead. The setting is the world of cabarets and shows in New York, which is realistically presented in all its interludes of bad and good fortune. Jack Oakie is the principal behind a series of rapidly failing entertainments called the Nicky Nelson Enterprises, the principal stock of which includes "the son of the whale that swallowed Jonah" and the talented orchestra leader, Ben Bernie. The situation is at its worst when Nicky meets the heroine in a theatrical agent's office and persuades her of his influence with stage managers and financiers. Perhaps fortunately for him, however, she soon finds out his true position and offers to make up a vaudeville team with him. In addition, she produces a ring which he is to sell, and with the money she expects him to buy a good act. In addition, she tactfully supplies him with a theme song. But Nicky's instability

of character betrays him, and he gambles away both the song and the ring. In ihe meantime his associates in the enterprises arc dropping away from him, and finally he quarrels bitterly with his own partner, and they separate for good. After this disaster the tangled threads are carefully and cleverly unravelled in a manner that bears witness to skilful direction. Supporting Jack Oakie are Dorothy Dell and Alison Skipworth, both of whom give excellent performances. Ben Bernie's Band is frequently heard in attractive numbers, which include the theme song, "Do I Love You?" The second film is "Sleepers East," with Wynne Gibson and Preston Foster in the principal roles. The heroine, Lena Karelson, is reduced to poverty in a great city, and she is handicapped besides by having imputed to her a crime which she did not commit. At the opening of the film she has been released from prison, and she is then unfortunate enough to become the eye-witness of a murder committed by the son of the mayor. Fearing arrest, she flies to her home, and there meets her former lover. However, her fear drives h*r away again, and the following action takes place aboard an eastward travelling train. The film is full of incident, and the battle of wits culminates in an admirably handled dramatic climax. Wynne Gibson gives an outstanding performance as the heroine and she is ably supported by Mona Barrie, a young Australian actress of considerable talent, who has appeared on the stage in London. Preston Foster, as Jason Everett, handles a difficult role with marked success.