Cinema Reviews

Press, Volume LXXI, Issue 21465, 6 May 1935, Page 9

Cinema Reviews

HtYSTAL PALACK ••()!!{ DAILY BlilvU)'* A ■: t ;;reat interest hy referffflt v.' modern problem- of unemployment jr.'i poverty, a.-; well as by its pre?t*s.latum of a heroic :story of the deprtv?i'nj in America i.- "Our Daily Bread." which becan a st at the Crys'a- I'alace Theatre on Saturday £\<-r:ins! It i, a Hire. which has a nH»S3U>-' to convey, ami there is no t attmpt to <ti«:{uisc* the /act. Ho '.".'ever, ■ ' it j% :jo dull didactic piece-- -all drama that v.orth the name has something to arttj :i i" in this; seme that "O.I" I;:.:!;.- Bread' Ins a message. hi pud.-, it is a Hnely acted nl:jv. i.til ni hiimoiii' -• ■ >rl movement, r. hr. tit- natural breadth and kindi.r:< ...5 <.\ ths- earth which miyht be «a:o ■> :> hi : principal character. The -tory is simple enough. A young Ari:», r ■m.'j. .!<hn Sirus. brought up to city hie yet i.r-.ablc to lind room in the city •'or hi. tah-nt.s t which arc nothing exh aordmary ' i; en ;he point o. 1 ' bein" *v '• of hi.- ''. it. Hi; wife, who .r. hi* but luw been 1 i :i'-i;• ■ ;ii tlr- verdict of the • ve:. a weal!hy uncle to dinner, rop.'.r: re may use influence to ;.ise: ' >i:n work. The uncle arrives, |._r>..c;ai!:i •. that hs' -aces not believe in enan'y o >' io< in. and euer.s John a U.-:;e iarrti winch has not been made to pay tor many years. It is underj'e.vd ui.u John and his wife are to h;e en M.s.- farm, work it. and if posf:b!'' p.-'.-- oil" the mortgage. John, of four ka ov, ; nothing at alt about nee :i:kJ iv hrst attempts are suf{.c.riil.'y r: !:< uSetir. Then a genial Sww.ic, - is; ■. by name, a farmer by 'jponpuitrj, and inclination, v/ho has 'ui-; his ovrn land, appears on lh*> icene. Chri:; and his wife settle down on the /.arm, and the easy, hard-work--ri:; co-operat ion of the four people ir, <.irntrii; a livim; .surest;; (o John the ! <ka of a -mall community, formed of men skilled in basic trades, who are u.oabie to iir.d work. The idea takes »übs;ance t and in a short time the fa'm i:> peopled v/ith more than 50 wdhnk' worker,-; and their families, rfouseis o! a primitive kind are built 'he land cultivated, and there seer-■ *o be .eoihi.ni; capable of de.strovW •Me happiness of the little commune. tiouble.s occur, naturally enough, •jut t.ierir; are settled without aiiv great diJiiculty. This is an attempt to depict somet.'ijn,; approaching an ideal community *• >7 l tnr " makers of the film have ftor showed their idealism to «et the -t ,er „t ;;oed sense. It only by an •"-XtraoroHjary racj'Hlce made by one nian thut inn compaiiion.s arc provided • '..•r 'Jurim; tee t«me of waitin;.; before ■ curves?. One of tip. finest dra;:C/ turc.s evot* :■ hown on the js tne n-.oment of extreme airncst a religious ecstasy of 'the ueople when the first few' blades of UAII ■'low th.emselvcs abov Ihe ground. At this point, as at several '•tilers, tne Him touciies the heights i. -ei.?i)s i u convey u sens,, of the natural identity of men with the soil •vl!t-h sopportj than, to have placed n tne neart.; of moderii men land y-' m<,nc 'ippcs and fears which must ; avc been the ea"l:e;t of all and the f-.eppt. At the same time contact has !i *>«<••' lost w'th the problem,; fae'!l joctetv to-day. arid v/'nilo it i.= i ;oain that it is not intended to offer a ! o.,ut!on <1 thi=e. no one could come • v/ay -.'jtht.o! ;> better incentiv''' and ■erne ;;ood material for theur;ht. I.ie prineip al '.upoortmt; foa'ure i, as excellent survey of England's pro- i social and industrial, smee Iho I o>;tpninn ; ; <>:' !;«• f centwr.v. "England! -vuaKff. ih r: fdin :,'a!hir-: inlo a short 1 »o,ice a: J Ij i' • mr.r- , Miinavsiiee deveioenerii ; ; : ren fi; . in m dustry clnc te » ist'.'rpi*«;; t■: tile ; !f -- stury a; very pleasantly i

CIVIC "J.fu OK hII.LMtSEY" .A .NO "<>>.' Tilt: AIR" _ A picture J-, (Ike a s'uod book. ?>', v uiiK dov s it satisfy ami amuse dur'•'J» **<-■ ae!ual screening, but it leaves - : m iruprcijiiui, pleasant and lasting, ■*- r 1 :cJi .;iay:i with one long after the Jeter.-, tfte acting. mid the verv theme have been forgot ton. Such an" impression is Jt.'l't after one has .seen "Lily of KiJJai-nc-y." winch was shown at the Civic Theatre on Saturday night. It has i.o elaborate story—in fact, the producer has touched too litfbtly 011 this aspect of the picture-—but its sellings, round the edge of the famous lake, and Jis Irish melodies, make it reallv beautiful. There arc glimpses of the Jrssh peasant's life and his joys and his uotowji make a pleasant contrast vith the blase and sophisticated type of film we now see so often. The acti'tg ot Stanley Holloway is one of the hnest feature:; of the film. He is magnificent as Father O'Flynn, the kindly Insh priest, with always a cheerful word and smile, earner to help the 'lmpressed, and to level a blow against the wrong-doer. But Holloway also -'as a line baritone voice, and he uses i' to advantage on .several occasions. He supplies a great deal of the humour *teo, and his Irish witticisms are a treat in themselves. John Garrick, the popular English singer and actor, take.; ibe part of Sir Patrick Crcegan, cm impoverished Irish baronet and inveterate gambler, who shares a secret romance with a peasant girl. Garriek *5 a very versatile actor, and he j;ives Proof of this by his line portrayal of the Irish gentleman. Gina Malo is the beautiful "Lily of Killarney." The picture ends conventionally—perhaps "jo conventionally, for one would like to »ee the heroine wedded to her childhood sweetheart, but nevertheleti. happily for all concerned. The supporting programme is headed by a British musical production, "On '■he Air." which features some of the best-known of England's stage, radio, •und screen star*. This picture has 'iOne of the lavishnoss which marks •b<- uiuiai American lilm of its type, out entertainment is not measured by of settings, and "On the Air piesents ilrst-class screen fare. There 1. no real story in the produced, -two London radio stars, Dave Hurt..tby and Harry Purncll, set out '•si :i fortnight's holiday, and the theme 1 '.n their efforts to leave stage rnierophone well and truly alone, -i;x persuaded, or rat lie r, coir>i «!•;<!. t< take part in a village con--1 I.re. incidentally, some of the -•'-'v " ;/<uyt r... dancers, and singer." «' ' -and later, in a cabaret, the take- the opportunity of inmore dance and song. Among '• tur„ are Clapham and Dwyer, Teddy Brown, Max Wall, Wilson Kepple Ui-l'y. Derek Oldham. Harry t'h-.ri.!,-., , Ki/.v Fo.s:. and his band, '* ho.-1 of others. !

* OTHER THEATRES TIVOLJ "JEW SUSS" It is very seldom that a really great tragedy is shown on the screen, and this is no doubt partly because the appetite of the average picturegoer is for varied diet, with a bias in favour of cheerfulness. Shakespeare is admitted to have been a master of tragic drama, yet, if the truth were known, there is little popular demand for presentations of the tragedies of Macbeth or Hamlet. It is, therefore, remarkable—indeed, something more j than remarkable —that the subtle tragedy of the life cf Jajv Suss, first published in Feuchtwanger's novel, should have been brought to the screen with such conspicuous success. The iilin is, to those who can. and will briny to it an appreciative mind, actually worthy of the title of masterpiece which is so often applied to films with more enthusiasm than discrimination. It is a tragedy of the most delicate lights and shades, bolli of human character and the pattern of events. ft lias been expressed on the screen with such sincerity that it is necessary to say that any faults which might be found are not clue to failure of human material, but rather to shortcomings of the screen as a dramatic medium which have yet to be overcome by technical means. It shows, in other words, the very best that the screen can do; and if in so doing it shows the limitations of "»e screen it would be carping criticism to give anything but praise. The whole burden of the play rests on Conrad Veidt, who has the part of Josef Suss Oppenheimcr. The argument of the play is based on the racial consciousness of Jews in Germany in the eighteenth century. The period is distant from the present, and the tragedy is distant from the ordinary sympathies of Europeans. Certainly the difficulty was overcome in the novel; but it was scarcely to have been expected that a film producer could do likewise. Yet, without harrowing the audience with scenes of the sufferings of the Jews in the Ghetto—apart from one essential and poignant incident—and without spending too much time in recreating the period, the spiritual heritage and environment of Jew Suss have been adequately conveyed. It can be said that Jew Suss is a tragic figure, equal almost to Macbeth, greater, if comparison is to be rncde, i.han Othello, and, in being equal, vastly different from both. His life began as that of a Jew among Jews in the Ghetto. He rose gradually to power, first through money, and then through the chance-won friendship of the Duke of Wurtemburg. His one aim through all his career of craft and malicious intrigue was to free his people in Germany from their shame and oppression. But like so many' who have set out so. he fell victim to his own ambition; and then, at the height of his power lie discovered that he was not a Jew by birth. In the end he died as a Jew when a confession of his Christian birth might have saved ; him. Ccurad Veidt will never better his : work as Jew Suss in this film. Benita ; Hume handles excellently Ihe light part of Marie Auguste, and Sir Cedrie : Hardwicke as Rabbi Gabriel would be I ! worth a separate study if it wore not | [for the dominance oi' the pnncif'l ! role. SI'KCIAL JL'BIMOK MATINEES In keeping with the auspicious day, British Dominions Films, the pioneers of the All-British Theatre policy, announce that to-day, at 11 a.m. and 2.15 p.m., at the Civic All-British Theatre, two special jubilee matinees will be held. The two pictures selected are most appropriate, being two of the most outstanding successes produced by Britain in recent years. They are "The Flag Lieutenant," one of the most delightful British films ever seen in Christchureh, and "Northern. Lights." British atmosphere, British ideals, British sentiment, and thoroughly British characters form the background of "The Flag Lieutenant." Directed on straight-forward lines, it contains no silly little technical errors, blending expertly all the elements of romance, thrills, comedy, and drama. It is undoubtedly one of the finest; naval pictures ever produced, and those who were fortunate enough* to sec it when last shown will agree that it is well worth seeing again. Henry Edwards, who has been associated with the part, of Dicky Lascelles for years, is the star, and he is supported by the charming Anna Neagle. The supporting picture, "Northern Lights," is another film which created an excellent impression in Christchureh, and for a special jubilee programme a better selection could not have been made. It depicts Sir Hubert Wilkins's expedition into the Arctic regions and possesses some of the most magnificent scenes ever seen on the screen. Special jubilee prices are announced, and patrons may reserve their seats at no extra cost. I

MAJESTIC "Tllli WHITK I'AKADK" Loretta Young is not perhaps the type of actress one would expect to see in the part of a woman devoting her life to good works for others; it says much for her powers of good acting that she carries off the leading part in "The White Parade," which is at the Majestic Theatre, so that her audience feels it is the most fitting thing for her to be—a nurse. Loretta Young is pretty, vivacious, and clever. In the role of a probationer she was mischievous, but became gradually more serene and serious as she; became more capable in her profession. She has earned all the praise she has been given everywhere "The White Parade" has been shown.

i This well-filmed picture; tells the story of girts in a nurses' training school in America. Their pattern in i their profession is, of course, Florence | Nightingale; the profession is not given I undue precedence among the admitj tedly noble callings thr.t men and i women follow. The trainees are | tat ..tit to be careful and honest and ' devoted to their work. Tney are not i led to think of their work as noble [ sacrifice. So that, when the heroine, June Ardcn, meets Ronald Hall, the prominent polo player 'John Boles), sh ; enjoys a few sallies into social life but refuses his oilers of marriage. After her graduation she determines fh;. she cares more for the hospital and all it means than for the fascinating and wealthy polo player. The crises in the story arc very well done: the troubles of the nurses' training period are not over-drawn and the whole production has worthily por'.rayed a noble profession. Sara Haden and Frank Conroy are outstanding in the supporting cast. The earliest part of the programme is brightened by a splendid Metro-Goldwyn-Mayer coloured symphony of the fawn and the god Pan. The colouring and the action are charming. Fred Argyle presents his amusing "Nursery Rhymes" on the stage. He has some hits»that are his own.

LIBERTY "NO MO HE ORCHIDS" AND "THE SOLITAIRE MAN" For tenseness and drama it would be difficult to equal "The Solitaire Man," which heads the programme at ' the Liberty Theatre this week. The film has nothing pretentious in its setting; it is, in this respect, rather unusual, and for this fact alone' the producer is to be Commended. By far the greatest portion is enacted in the cabin of a passenger aeroplane flying from Lc Bourget to Croydon and this background serves to emphasise the tenseness of the story The theme of the picture is built round the efforts of "the solitaire man," who has, however, forsaken the role of jewel thief for that of country squire, to shelter a friend from a crime another committed, and, with so suitable an actor as Herbert Marshall in the leading role, this has been fully exploited in the picture. Marshall makes his role very convincing, and his acting is not far short of perfect. His cultured English voice is pleasing, and is a welcome relief to the wise-cracking nasal twang usually associated with such parts. Elizabeth Allan plays opposite Marshall in the leading feminine role, and her performance leaves nothing to be desired. The part of the villain is left in the hands of Lionel Atwill. and mention must also be made of Mary Boland as Mrs Hopkins, a passenger on the aeroplane, who lends a touch of humour to the drama. "No More Orchids," which is shown in support, follows a more conventional line. It is a sophisticated drama of American life—that is, if cne can judge American life by screen impressions—which shows that the American girl will go to any length to "get her man." The story is of the rather time-worn theme, the rich girl in love wit the poor man. The girl, "Carole Lombard, begins by breaking the man's reserve, and when she has won him, turns on him for another, but for a very worthy cause, however. Lyle Talbot takes the part of the poor man, but Writer Connolly, who gives a characteristic portrayal as the girl's father, takes the acting honours Louise dosser Hale makes a human fi.gtu'e of the eld grandmother, while C. Aubrey Smith, as her "die-hard" husband, is a most unlikeable person.

MAYFAIR "THE IRON DIKE" Apart from the brilliant characterisation by George Arliss, "The Iron Duke," tiie Gaumont-British film of the life of England's great soldier, the Duke of Wellington, which is at the May fair Theatre, is a magnificent spectacle. In this lavishly-pro-duced piece of the Napoleonic wars, George Arliss "ives one of (lie finest of his career, and it is a characterisation that goes much deeper than the popular conception of the "Iron Duke" —the cold, ruthless austere soldier George Arliss, as the picture intended, shows the man behind (he soldier arid statesman—a man among men, and in his domestic circle one who was greatly loved. In the production of the picture no effort was spared to ensure that the period reconstructions should be accurate in (.-very detail, and the result is a film that is absolutely convincing. It was no easy task, for not only was accuracy demanded in costumes, unilormi, orders, and decorations, but m ■ uch minutiae as lamps, candlesticks, i-i,-ches hair-dressing fashions, crests and Hags'. As far as research by ex- I perls could en..are every such c'.euhl in the picture i:, ; utiicjiin:, and it must bo remembered that (he scenes embrace four different countries of Europe. There are complete reconstructions of the Paris Opera House 1 during the attendance of throe crowned heads of Europe; of the Sciionbrunh in Vienna, in which the Congress of Vienna met in If! 15 to en eu th? division oi Europe after Napoleon . Bonaparte had been exiled to Elba:.! of the palace of the Tuilerios. where the Duke of Wellington imposed his iron will on King Louis and his headstrong niccc. of the House of Lords where the Duke of Wellington defended himself against the groundless attacks of political enemies. The (wo outs'.raiding instances of reconstruction are in the settings for the Duchess of Richmond's' ball on the eve of Waterloo -a brilliant spectacle—and in the staging of the battle of Waterloo. The stray of the lilm opens in the year UM.S. with Napoleon Bonaparte in exile on Elba, the Congress of Vienna in session, and Louis XVIII. on the throne of France. The Duke of Wellington's influence on Ihe negotiations to settle the future of Europe is sketchilv introduced in (he opening scenes and strongly developed throughout the remainder of the story. The military side of the film ueservos special mention. The military movements before and during tno Battle of Waterloo provide some of the most spectacular scenes in a very dramatic film. Four of the most famous incidents of the battle are reproduced in thrilling fashion—the charge of the Scots Greys and Gordon Highlanders, the British troops forming square to repulse the first waves of the attack of (he French cavalry, the hand-to-hand encounter during the forlorn but magnificent charge of Napoleon's Guard against the British Guard when the battle had '•wung against Napoleon, and the fateful charge of the French Household Cavalry which, when' threatening to smash the defensive lines, spent itself in terrible .self-slaughter in' the sunken road, George Arliss heads a great company of English players, among them Gladys Cooper, as Madame, niece of Louu XVIII.; Ellaline Tcrris, as the Duchess of Wellington; A. E. Matthews, as Lord Hill; Lesley Wareing, as Lady Frances Webster; Norma Varden, as the Duchess of Richmond; Allan Aynesworth, as Louis XVIII.: Franklyn Dvall as Blucher; Edmund Willard, as Marshall Ney; and Gyles Isham, as Lord Castlereagh. Incidentally this is the first English film that Arliss has made. It Is worthy of him and his performance must be ranked as among the best he has given on the rcreen. Outstanding among the excellent shorts that comprise the first part of the programme is a,film dealing, very appropriately at this time, with the lite of King George V., who -today will celebrate the twenty-fil'tli, anniversary of his accession to the throne.

( . PLAZA AND THEATRE > ROYAL | "ROYAL CAVALCADE" i There are in "Royal Cavalcade" unique qualities which prevent its being judged by ordinary standards, and which lift it above those standaros. This, it is true, is largely due to the nature of the subject, which is no less than what may be safely termed the most dramatic 25 years of England's history, the 'period during which King George V. has held the throne. It is the King which serves as the link connecting .all the various manifestations of the nation's life during that eventful time. _ . "Royal Cavalcade," which is bemi, screened both at the Plaza Theatre and at the Theatre Royal, shows the glorious pageant, the successes, the defeats, the sadness and the gladness os those years. One hesitates to give praise to those who were concerned in the production of this film —for it is harcl to look upon it merely as a picture —but the welding together of the varied themes and events has been wonderfully well done, giving a continuity, and, as it were, unfolding a particularly dramatic story. There are many actors and actresses who have taken small parts, but again it is hardly fitting that any names should b" mentioned. The destructive quality of false sentiment is entirely absent. Every scene, of those which were not taken on the actual occasion, has an authentic ring, and it can be easily imagined that the expressions of loyalty to the King, of determination to carry on in the face of national danger, came readily and genuinely from those who reacted scenes that once happened. One example may be taken. The younger generation has gained its knowledge of the Great War at second hand and its impressions are liable to a certain distortion. There has not, among the many other films on the war that have been produced in recent years, been one which better creates again what one inevitably feels to be the true atmosphere of the time, both in the j field and at home. There is no slurring i of its grimness or horror, but equally 1 the gallantry, the determination on the home front and the quickening of pulse and spirit that the occasion produced are without any falsity, without any attempt to do other than portray what was the nature of t'ne time. To recount in any detail all the events which are shown would be to write England's history for a quarter of a century, but some of the outstanding figures and movements may be mentioned. In pre-war days we sen Captain Scott forestalled in his dash to the Pole by Roald Amundsen and the death of Captain Oates on Ihe return journey; the wreck of the Titanic; the Agadir crisis. when another Franco-Prussian war threatened: Marie Lloyd and the music halls in the heyday of their life: the surragette agitation, with a switch to the da l ' when Lady Astor took her seat in the House of Commons, and a member of the opposition benches drew laughter at the expanse of Lloyd George with the remark: "George, you'll be losing your job now." There follow scenes showing the darkening ! of the shadows—(rouble in Ireland, in Europe, the Serajevo murder, Germany's invasion of Belgium, the fateful night when the crowds throughout England waited for the hour of midnight when peace or war would be decided, and the first crisis of the reign arose. Scenes in sequence show the temper of the post-war days, effectively presented by samples .of the popular dances of the successive years The desire for speed, the development of broadcasting, the advent 'of women into new walks of life, then the seeend crisis, the general strike of ihe third, when, in the final years of Ihe century's third decade the nation waited while its King lay seriously i ill; and the fourth. Ihe deoression. I It might seem impossible that this multiplicity of scenes and events should be unfolded as a consecutive story, but it has been dene. "Royal Cavalcade" is indeed a notable film, and one that is peculiarly appropriate to the twenty-fifth anniversary of the reign of his Majesty the King. "CJHLS UII.I, UK HOYS'' FOU I PLAZA j Piquant, bright, and romantic. "Girls i Will Be Boys," which will begin at the j Thaitrc mi Wednesday next. I marks '.lie return of Cyril Maude to! the screen alter an absence of many i months. He is one of ihe best come-j tlir.ns appearing in films, but his ap- I pearanecs are too rare. In "Girls V. ill j Bo Boy," an entertaining' (heme is in- | troduced. and the situations ancl un- j expected happening;; that arise keep audiences at high pitch from start to I finish, 'ihe picture serves to introduce j a new actress to pieturegoers in Dolly i Haas, and judging by her porlorm- j ance her success is assured. She reveals plenty ot personality by her characterisations of the debonair ■ young man. and introduces charm and j aflection into the role of tin; granddaughter. Cyril Maude and Dolly i Haas take the honours in the film, but' they are ably assisted by Edward j Chapman and Esmond Knight. The I story centres round Pat Ca'verley, a I vivacious younjLj girl, whose grandfather Is the Duke ot Bridgewater. The duke is an eccentric old fellow, to whom the mere thought of a girl round the house is antagonistic He receives a letter from Pat Cavcrley and naturally enough the duke assumes it is trom his grandson. He at once sends his secretary, Grey, to bring the young fellow heme to live, but when Grey arrive? in Paris he is confronted by the appearance of a girl, a dreadful dilemma. Knowing that the duke will not allow her to enter the house the pair then decide on a masquerade. Her plan succeeds admirably, and is brought to a climax when a party, in which the duke and "grandson" are included, decide to attend a pageant, They arrive to find it already over. In the meanwhile Pat has taken refuge from Ihe heavy rain in a cottage nearby, where she proceeds to dry her clothes. A most entertaining denouement is provided as i a close to an original story. i Bo:: plans are at the D.I.C I

REGENT "THE MGIIT 18 Vol A mixture of romance and delightful irresponsibility, "The Night is Young," which is now showing at the Regent Theatre, is a musical comedy of the first order. It should be said, in the first place, Hint the musical score was written by Sigmund Romberg, and the libretto by Oscar Hammcrstein. the second, who. together, produced "Viennese Nights," and that the story is taken from a book by Vicki Baum, who wrote "Grand Hotel." These names are in themselves sufficient recommendation, brt they are outshone, perhaps, by those. of the cast. It Is headed by Evelyn Laye and Ramon Ncvarro. She is a ballet girl, and he is an archduke, in Vienna, of course. The picture opens with the ballet in practice, and then on the stage. The archduke is at the theatre with his father the emperor, and he is trying to conceal his admiration for a lady, a countess, in the audience. The emperor expects him to marry a neighbouring princess, and the countess would certainly complicate matters. The young archduke then hits on the plan of feigning an infatuation for a ballet girl, a very proper thing for an archduke to indulge in before entering on a state matrimonial alliance. The emperor approves of the affair, and allows his son six months grace to indulge his fancy. The archduke Ramon Novarro, then proceeds to select a ballet girl, and by the merest chance selects Evelyn Laye and insists that she come and live with him—platonically—to

cover up his pursuit of the countess. Hero the fun begins and the story trips gaily to an unexpected turn at the end. Una Merkcl, always a most pleasant and amusing lady, is the second feminine lead. She 100 is a ballet girl, and she is, having failed to materialise her ambitions to attract the archduke, in love with a man who drives a horse tram He is none other than Charles Butterworth, whose wonderful fooling has made a name for him in the film world. He is, according to his own remarks, of a hot, passionate nature, though most of his attention seems to be devoted to Mitzi, the faithful mare who pulls his tram. One could scarcely imagine more delightful fooling; but there is a serious side to the picture. Evelyn Laye has been in love with a pianist who is aiming to produce an opera, a part played by Donald Cook. Once she and the archduke have met, complications of course arise. What is .ho to dotorn between the claims of state and of love? This part of the picture is not flippantly treated, but it is very pleasing to see how well it has been combined with the humorous sequence. Altogether it is a sparkling piece of work, ably directed, well acted, and, above all, interesting throughout. It might be added that the photography is excellent and that, artistically, the picture roachc the high standard set by the acting and singing. The Viennese gala and cafe scenes are as good as any that have appeared of this kind, and are quite delightful in themselves. The programme contains a most interesting feature, "Long Live the King," which gives an authoritative record of the principal events of his Majesty's reign. There is also a colour cartoon, and patrons must not be late if they wish to avoid missing any of it, for it is the first item on the programme.

I GRAND J | "THE FIRST WORLD WAR" "The First World War," which began a season at the Grand Theatre I yesterday, is made entirely from actual pictures taken in the European capitals before 1914, on the battlefields, | and on the high seas. It contains much that is educative and of definite historical value, it reveals enough of the ghastly horrors of modern warfare 'o check the most belligerent believer in war, and it leaves one thinking with .some anxiety about the present unsettled state of the world. Some of its most remarkable scenes were photographed in Europe years before the war began. There are clear moving pictures of military -activities in Germany, in the Balkans and in Russia, there are photographs of the Emperor Franz Joseph, of the Kaiser as a young man. of the Tsar and his family, of the Prince of Wales as a child. The visit of King George to Berlin and his friendly meeting with the Kaiser, his coronation a?, King of England, and the fateful funeral of the Archduke Ferdinand are all built into the film, and the growing atmosphere of mistrust and hatred created skilfully without apparent exaggeration. One is shown the massing of troops in Germany and elsewhere, the first desolation of Belgium, the first winter campaign, and the development of the struggle on many fronts. There are harrowing scenes of warfare in the trenches and of battles at sea, their obvious reality and vividness making it difficult to understand just how they were photographed. The Battle of Jutland. Hie destructive work of the German U-boats, and the sinking of ships in the Adriatic have all been included. seme of the most amazing "shots" having been taken from the decks of German submarines. One after the other battleships and transports are shown rolling and plunging to their destruction, one of them, an Austrian cruiser disabled by an Italian patrol, swarming with men who have ber-n ordered to remain with their ship. The desperate campaigns in . "the frozen north, the abortive Gallipoii attack, and the last great German offensive and repulse arc shown in fragments of fierce fighting and death.

I The end of the iilm is skilfully dei.st'tfned in review, with vivid imprc.sisions of world-wide military preprrra11ion. the present state or the world. I Here tor the first time in the picture jxdever studio photography lias been j employed, and its effect is devastating. ' "The First World War," although made lin America, is international in application ar.d appeal. T'. shows, without j adornment, the brutality and futility I of war, and it deserves wide attention.

CANTERBURY COLLEGE REVUE -- - o "CAM FIX AI) E" IN RISUKAKSAL » I-Vw people realise tilt: extent and seriousness of the rehearsal work undertaken by Canterbury College students for their annual revue production. which, under the name this year of ''Camelcade," will open a three nights' season at the St. James' Theatre to-morrow. The revue is mora ambitious thari anything attempted before by the college. The preparations have been longer this year, and more elaborate, both for effective statin;.;, and a high standard in ballet work, music, and humorous mterludes. Judging by rehearsals, these last arc well up to the standard of the better professional vaudeville touring companies, and they have in addition, that flavour of irresponsibility which, however, much it may be frowned on by some, is always appreciated by revue audiences. Intensive work on separate sections of the revue by the college hostels should make "Camelcade" a better production than "Purple Patches," last year's revue, which was considered the best for some years. The college has been lucky to lind two students able to produce original music for ballc-ts mid songs—most of the music in "Camelcade" has not been heard before—and this should add interest to the programme. Michael O'Brien and W. D. Foster are the composers this time, their predecessor as revue composer, Terence Vaughan. having gone abroad with scholarship honours. The women's ballets have been in training for over two months, under Miss Rona Vaughan, and the men's ballets —the "barmen's ballet" and the "chefs' ballet" —under Miss Peggy Holmes, are rivalling the women at their own style of entertainment. The men's ballets ure, in fact, one of tire most interesting features of the revue; they gain by being unusual in the first place, and further by the surprising grace and agility of the "chorus men."

The first half of the programme is made up of sketches by the hostels, the women's clubs, and the non-residentiaf men. Rolleston House has evolved "Mexicali Pose," a burlesque of a familiar type of film. College House has a sketch of its own. which is considered to be the best of the shorter pieces. In the first half also are a display by the college gymnastic club and numbers by the College Crooners, successors to the College Growers. "Camelcade" proper occupies the second half of the programme. The scene is laid in Algiers, in a large tourist hotel, and the cast includes harem women, French legionnaires, Arabs, camels—both fore and hind legs—all combining to produce really spectacular scenes. The dialogue has been carefully worked on during the two months of rehearsing, shaping under the hand of the producer, Mr Bernard Beeby, who is in charge of the whole revue. Box plans are at the D.1.C., after 5.30 at the theatre, day sales at Knight's Milk Ear, the Queen's Confectionery, and the St. James' sweet shop.