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Press, Volume LXXIII, Issue 22135, 3 July 1937, Page 23

CIVIC

"AS YOU LIKE IT"

No better justification for putting Shakespeare in films could be provided than is furnished in the film "As You Like It." which opened its New Zealand season yesterday at the Civic Theatre. Those who go to see the film hoping to find a good interpretation of Shakespeare will be more than satisfied. Choosing an unusually capable cast, the director ("Paul Czinner) has handled the play in a manner which shows complete sympathy with the Shakespearean tradition, and at the same time a thorough appreciation of what is demanded by the public today. It is not offered as a film to be appreciated only by those who have studied and learned to appreciate the works of Shakespeare, but as an amusing comedy able to hold its own with any modern work as a piece of popular- entertainment. Elisabeth Bergner, who takes the part of Celia, has won more universal praise from both critics and the public than most other screen actresses of the present day. She has a part here which enables her to offer a delicacy of interpretation, a whimsicality, tendez-ness, and humour which even the best of her previous roles has not allowed her. She makes a complete success of the task of playing the role of the boy as whom she masquerades, and makes the audience enter completely into the spirit of the prank, for although the device was a favourite one on the Elizabethan stage, it is difficult to present convincingly to the theatre-goer of to-day. The other members of the cast show too, that they realise what an opportunity for subtle and brilliant acting the play offers them. Among the first. Leon Quartermaine, who takes the part of Jacques, should be mentioned, if for nothing else but the flawless | manner in which he speaks the wellj known lines beginning "All the world's I a stage." He speaks these lines with complete absence of sententiousness, talking as though a whimsical idea had come into his head, and lie were developing it impromptu and halfhumorously, yet losing nothing of the l essential poetry. But naturalness is the characteristic of all the players, and in being natural they do complete i justice to Shakespeare. The fine language is spoken without apology, and ! a simple dignity is achieved which | makes the whole production an aesthetic as well as a dramatic success. The humorous scenes are excellent, especially the passages between Touchstone (Mackenzie Ward), Audrey (Dorice Fordred) and her country lover. In the second leading role, Lawrence Olivier gives an admirably realistic and vigorous portrayal of Orlando, the disinherited son of a nobleman, and Celia's lover. His whole attitude when he is playing what he thinks to be a game of making love to Celia as a boy is one of the most convincing portrayals of disappointed feelings that I have ever been shown on the screen.

.STATE

"SEVENTH HEAVEN"

Few love stories could have more appeal than the celebrated romance portrayed so skilfully in "Seventh Heaven," the film which, because of its popularity with audiences, is offered for an extended season at the State Theatre. Treated with discretion by the director and by a very capable cast, it is rescued from sentimentality, a fault that might easily have developed without adequate restraint in the direction. It is a fanciful and altogether charming story of the romance of Chico, a Parisian sewer worker but "a very remarkable fellow," and the waif. Diane. The production has no luxurious embellishments. Its success depends on natural and sympathetic interpretation of simple incidents, and the success that has been achieved is notable. The film should please many tastes.

Chico and Diane are James Stewart and Simone Simon, comparatively new to the screen. Yet each j&- thoroughly at ease in every situation. It is good work indeed on their part to keep any suggestion of artificiality out of their characterisations, and the talent of both 'should arouse admiration. Simone Simon in particular is impressive in the emotional scenes towards the end of the picture, when news comes of the death of Chico in one of the battles of the Great War. James Stewart is a refreshing personality, with an engaging and whimsical charm that is well expressed in his portrayal of the sewer worker who befriends the little waif. The two have the support of a strong cast, which includes those two very fine character actors, Jean Hersholt and Gregory Ratoff.

Although it is primarily a love story, it has a decided element of comedy in which Stewart excels. His frequent comments that he is "a very remarkable fellow," and that he is always doing things he does not want to do, are brought in at very appropriate moments, and the first half of the film- has some most amusing touches. Some of the most acceptable were those which define the social distinction between 'the sewer worker and the street cleaner, a position to which Chico rises. The war scenes are portrayed with restraint, and form a striking feature of the picture. One of the famous French taxi-cabs which took an important part in the World War makes its appearance in the film. The cab, dubbed "Eloise." saw war service in 1914, when, with the German army under von Kluck. only 25 miles from the city's gates. General Gallieni commandeered the taxis of Paris to carry the 62nd Division to the front.

For the background of "Seventh Heaven," the 20th Century-Fox has recreated a vivid and picturesque Montmartrc, set in the turbulent days of 1914. In the huge, subterranean Paris sower, Chico spends his working days, scornful of the Providence that failed, first, to make him a street washer, and second, to bring him a fine, intelligent wife.

MAYFAIR

"THE PLAINSMAN"

••The Plainsman," which began its season at the Mayfair Theatre yesterday, is no ordinary "Western" film, although it has all the elements which have made "Westerns" favourites in film entertainment for so many years. It is, besides being good entertainment. an interesting historical study. The] people it deals with actually lived in circumstances very like those* presented in the film, and it is apparent that no pains have been spared in tha endeavour to retain historical accuracy. Always it must be remembered, however, that in spite of its historical settint;, "The Plainsman" is no mere fudge up from a history book, but a lively and hard-riding entertainment. Credit for the vitality of the performance must go to a large number of people, but the two, most who see the film will remember, are Gary Cooper. as "Wild Bill" Hickok, who was sent into the West in the early 'seventies to inquire into the illicit selling of guns to the Indians, and Jean Arthur, as "Calamity Jane," the most famous frontier woman of the times. She brings to the character a tomboyishness'that is well in keeping with the part and gives it vitality.

The "West" of "The Plainsman" is not that of the cattle-ranching days. It is a much more primitive country—one that recalls, except for the Indians, conditions as they were in New Zealand and Australia for the pioneers. It is a magnificent pageant of a stirring period in American history, brought to life as it has never been before. There is about it a movement and a diversity of life that makes the final impression all the more telling. The people are no mere puppets, but startlingly alive. Beginning with the end of the American Civil War, and the determination of Lincoln, just before his death, to make the frontier safe for settlers, the film first of all gives the setting of American life of the time. Then the scene moves to the West, where Bill Hickok and "Buffalo Bill" Cody arrive just in time to take part in endeavours to quell an Indian rising. At the same iime Bill is able to continue his lefthanded love affair -with Calamity Jane.

Horses and Indians naturally play a large part in such a film. There is plenty of hard riding by all concerned —cavalrymen, Indians, and "Wild Bill" and his friends. The Indians—actually thousands of them—are no mere Hollywood supers, but real Cheyennes. The Indian attack on a column of General Custer's troops provides one of the great moments of the film. Among the supports a news item showing the conditions in which the match between the Springboks and New South Wales was played is outstanding. The ground appears as a shallow lake. In addition, Pop-Eye the Sailor delights with move of his inimitable antics in "Hold the Wire," and" "Music, Music Everywhere," is a musical feature that is out of the ordinary.

REX "THE KOAD TO (JLOKY"

Warner Baxter, Fredric March, and Lionel Barrymore are the celebrated stars in "The Road to Glory," the film showing at the Rex Theatre, Riccarton, to-night and on Monday and Tuesday nights.

OTHEK THEATRES

"Born to Dance," a musical iiJm. starring Eleanor Powell, is the attraction at the Regent Theatre this week. Jean Arthur and George Brent are the stars of -"More Than a Secretary," the film at the Majestic Theatre. Irene Dunne takes the leading role in "Theodora Goes Wild." which has been transferred to the Tivoli Theatre. "Laburnum Grove." with Edmund Gwenn and Sir Cedric Hardwicke, and "The Final Hour" are the two films at the Liberty Theatre. A double-feature bill. "The Age of Indiscretion," with Madge Evans, and "The Case of the Howling Dog," with Warren William and Mary Astor. is at the Grand Theatre.