MAJESTIC THEATRE

Dominion, Volume 32, Issue 160, 1 April 1939, Page 16

MAJESTIC THEATRE

*“Dead Men Tell No Tales ’

After the spate of pictures in which murder lias been mixed, with mirth and detectives have picked up clues between wisecracks while the beautiful blonde stumbles over the correct solution b.v accident in the last reel, it is a genujue relief to find a film like "Head Men Tell No Tales-,’’ at. the Majestic Theatre, in which murder is treated lor what il really is—as something very sinister, very abnorm.i. and very horrible; and as something, also, that is peculiarly fascinating ; lor I dei.t anyone to sit through this picture and not become absorbed by its eerie tale o. pathological homicide. This includes even those people, like mt-, who are unfortunately clever enough to guess the secret of the murders Irom the start. I say unfortunately" because this is one of those ingenious films which depend very iargeij for their effect on a surprise. T iie tale is moving steadily along, the audience is sitting absorbed and perplexed, and then—suddenly—comes that delicious, spineciiilling’ moment when the whole terrible trillli is revealed. It is for this moment that everything in the film has been working, and the genuine scream which greeted it from someone in the audience when I saw the picture was tile best possible tribute to its success. On such surprises as this depend most of the greatest horror stories ever -written; and tile peron who can experience the undiluted shock of the revelation of "Dead Men Tell No 'Tales” is lucky indeed. For once the amateur detectives who guess the secret for themselves arc at a disadvantage. Even so, they should enjoy themselves. Not only is “Dead Men Tell No Tales" a welcome change after so many crazily comical crime stories, but also it, is a thriller with the intrinsic merits of workmanlike construction and fine characterization and atmosphere. This is not a “big” picture; it is an exceptionally good one of its kind. If its eerie mood of pathological murder reminds the watelier of “Night Must Fall,” it will not be surprising, since Emlyn Williams, that, master of the macabre, was associated with both productions—in the case of “Night Must Fall” as the author, and in tlie present case as the star. Dis performance is a real “tour-de-force.”

You may have noticed that I have studiously avoided saying anything about rhe actual story. The obvious reason is that since the truest, enjoyment of the picture depends on a surprise, only a sjioil-sport would give it away. It can be mentioned, however, that a good deal of the melodrama takes place in an English school setting, that there are three grisly cases of murder ami one attempted murder, and that the plot is based on Francis Beeding’s novel. “Norwich Victims'.” T’he rest 1 would advise you to find out for yourselves. “Sweethearts.”

A new Jeanette MacDonald and Nelson Eddy, and a new warmth, colour and comedy spirit in musicals, makes itself manifest in “Sweethearts.” the fifth co-star-ring musical of this famous singing team, which will be the next change at the Majestic Theatre.