REGENT THEATRE

Dominion, Volume 30, Issue 255, 24 July 1937, Page 16

REGENT THEATRE

* “Romance in Paris” Topicality of subject-matter is more frequently found in Warner Bros, productions than in those of any other studio. In “Romance in Paris.” which began last evening at the Regent Theatre, that quality of timeliness may have been accidental or it may have been intentional, but it was apparently sufficiently strongly marked for the New Zealand censor to change the title from "The King and the Chorus Girl,” and make some deletions, and for the censors in some other British countries to ban the film altogether because of its supposed ‘‘tie-up” with the Royal crisis. Yet, having recognised the existence of this factor, one can very well ignore it, and treat the picture solely on its merits as a piece of light entertainment. As such it is so good that picturegoers can feel grateful to our censor for being less inflexible than some of his colleagues overseas. Mervyn Le IN'.v, the direetorprod.ucer, has hardly for a moment lost sight of the fact that the main function of the film business is to provide amusement. with the result that “Romance in Paris” spins along in an atmosphere of sustained and spontaneous gaiety. The situations, the dialogue, the characterisaliojis. and the action of the story, are all deftly blended to produce laughter, and some of She scenes rank with the best light comedy that has been screened. Groucho Marx, that prince of idiots, collaborated on writing the screen play, but any tendency in his work toward ludicrous farce has been treated with proper restraint by the director. The storv is admirably suited to its purpose of introducing the French actor. Fernand Gravet, in his first American picture. Gravet is another proof of the proposition that British producers often fail to recognise talent waiting on their own doorsteps. In 1933 and 1934 he appeared in "Bitter Sweet,” “Early to Bed, ’ and “The Queen’s Affair.” for English studios, but without making much impression, and he has had to go to Hollywood to be “discovered” as a romantic comedian of the first class. Unlike the average much-“ballyhooed” newcomer. Gravet really does possess good looks, personality, and genuine acting ability, and he should become a big money-maker for Warner Bros. The heroine is Joan Biondell. In the past her popularity has suffered through her being cast in a series of “tough” roles, but here she reveals a new side of her personality. She is just as alluring, but there is-less artificial wise-cracking and more real acting. Edward Everett Horton, Alan Mowbray, Luis Alberni, and Mary Nash are four other good reasons why “Romance in Paris” is almost consistently enjoyable. t , . ■ Very briefly, and without taking into account the many bright touches that help so much to make it notable, the story presents Gravet as the abdicated “King Alfred,” leading a life of inebriated boredom in Paris. However, when he notices Dorothy (Joan Biondell), an American chorus girl in the Folios Bergerc, life takes on a new interest. So long as it appears to be merely infatuation, this interest is encouraged by the ex-king’s friends, but when he is seen to be seriously in love even Dorothy becomes afraid of the consequences, and all kinds of ruses are invented to throw the royal suitor off the trail. But eventually democracy wins the day, in a highly amusing and novel climax. The film is well photographed and handsomely staged, with the appropriate inclusion of two of those song-and-dance numbers for which Bobby Connolly is famous.