ST. JAMES THEATRE

Dominion, Volume 31, Issue 154, 26 March 1938, Page 16

ST. JAMES THEATRE

*“London By Night” Since the average person seldom thinks of London without thinking of fog, it is perhaps not surprising that. Hollywood's fog-making machines almost invariably work overtime when an American studio is making a picture with a London set- ■ ting. .Similarly there is always a great demand for actors and actresses with Cockney accents. Both the fog-makers and the Hollywood Cockneys have been given plenty of scope in M-G-M's “London by Night,” which began last night at the St. James. The fog serves a very useful purjmse in creating the necessary eerie atmosphere for the dark and murderous deeds in which this moderately successful thriller abounds. When 1 saw “London by Night” I was instantly reminded of two previous pictures, “The Mystery of Mr. X” and "The Lodger,” in both of which there were dim London backgrounds, and the city was thrown into a panic by the visitations of a weird killer. In the present case, the figure who haunts the story and commits crimes guaranteed to keep amateur detectives in the audience guessing, is known as the “Umbrella Man,” his habit of carrying an umbrella being the only clue to his identity. His first appearance is linked with the baffling disappearance of a shopkeeper who has received a threatening note; and the shop and the neighbouring square then become the centre of his activities. The inevitable newspaper reporter hero is drawn into the case, partly by natural curiosity, partly by friendship with the detective" in charge, but mainly because of his interest in a pretty

girl who lives in one of the houses round the square, and who becomes involved with the “Umbrella Man.’’ It is all very puzzling —not made any the less so by the fact that sinister characters are constantly popping up and then vanishing. This is later explained,

however, ■ by the "Umbrella Man's” extraordinary flair for disguise. Gradually the net closes round him, and the excitement reaches its peak when the villain makes a dash for freedom, using the heroine as a shield. As the hero, George Murphy forgets that he is an excellent dancer and turns in a “straight” performance that is very pleasant, but would have been more convincing had he spoken like the Englishman he is supposed to be. There is a fresh face in the heroine’s role —and it belongs to an actress named Rita Johnson, with a sense of humour and rather unconventional good looks. George Zueeo gives another of his polished performances as the detective, and there is much sound and fury in Montagu Love’s portrait of tin! heroine's irascible father.