STATE THEATRE Second Week Of “Blockade”

Dominion, Volume 31, Issue 278, 20 August 1938, Page 16

STATE THEATRE

Second Week Of “Blockade”

Whenever one finds oneself becoming unduly moved by the misfortunes of characters in screenplays, it- is usually possible to reassure oneself with the thought that “this is only a story, after all.” But in the case of "Blockade,” the Walter, Wanger-Unitcd Artists's picture continuing for a second week at the State Theatre, no such easy comfort is vouchsafed. For “Blockade” probably portrays without any exaggeration the sufferings of much of the civilian population of Spain at the • present time, or, for that matter, of any non-combatants in modern-warfare. It is this that makes “Blockade” a memorable and moving film and, in some aspects, almost a great one. When one is looking at Madeleine Carroll’s immaculate coiffure or following her adventures in this latest episode ,of her career as the screen’s most persistent international spy, it is not difficult to remain in the realm of pleasant, indisturbing fiction but when there are shown scenes of towns in ruins, starving women and children waiting hopelessly in food queues, and a torpedoed relief ship sinking before the eyes of a hunger-stricken crowd, then this film is no longer fiction, but cold, hard fact —-and fact that is extraordinarily exciting and ful of suspense. Because Walter Wanger, the" producer, has come to grips with real ities, “Blockade” is rightly to be regarded as one of the most daring and important pictures of the year. Though it fe hard- to see how the hero can he regarded as anything but a Loyalist, the producer has been very discreet in labelling no sides in the Spanish struggle. The peaceful Spanish countryside before the war breaks out is skilfully depicted in a few charming scenes of sheep and trees and rivers, with Leo Carillo a veritable Tan playing his flute to his attentive flock. Henry Fonda is for once given a repl chance to show his skill a e an actor, as the young farmer who loves his land and drops his plough and takes up a gun to defend it. The villain of the piece is John Halliday. Madeleine Carroll is, inevitably, in the opposite camp—but love at lest finds a way.