"MIKADO" FILM

Evening Post, Volume CXXVII, Issue 33, 9 February 1939, Page 11

"MIKADO" FILM

OPINIONS VARY THREE VIEWPOINTS , AN AMERICAN NANKI-POO (By Air Mail, from "The Post's" Londoi Representative.) LONDON, January 16. There seem to be three lines of approach when considering and discussing the new British filni based on "The Mikado." According to the outlook, so the verdict: (1) There are people, countless thousands of them, who are always enthusiastically eager to see stage- presentations of all the Gilbert and Sullivan classics—the majority will go to the film and they will find themselves disappointed; (2) There are others, also tremendous enthusiasts, who will see the film, realising that the use of the words "based on" provides a loophole of escape, if the producers feel they want one. (3) There are the millions of cinemafans of today to whom the names Gilbert and Sullivan mean nothing at all: these should come away appreciating the fact that they have seen a beautiful film, with enchanting music. People in category 1 will be the most severe critics of this initial film venture in technicolour of a very popular and witty Gilbert and Sullivan fantasy. The first shock of disappointment—it comes like a thunderbolt—is felt immediately Nanki-Poo opens his mouth, for his accent is broad American. This part was given to Kenny Baker, who speaks like most Americans do< and who does not suggest a Japanese in any respect, but he 'has a flexible tenor voice. When he sings, which he does delightfully, there is no trace of his accent. He acts easily. But surely an Englishman conversant with the part Could have been found for the film version! FAVOURITES DELETED. Disappointment, too, is inevitable for those who so well know the "book,* because, reverent as has been Mr. Geoffrey i Toye's adaptation, six favourite, items have been deleted, notably Ko-Ko's patter song, "I've Got a Little List," the quintet, "See How the Fates"; and Katisha's recitative, "Alone and Yet Alive." There are omissions, too, from the original and familiar dialogue, but possibly these latter cuts have been, made on account of the passage of time. Among them are some of the funniest. There is a longish prologue, too, which may be a necessary introduction for the cinema, but which can. well be imagined when the opera is presented on the stage. This prologue shows a peep through the windows of Ko-Ko's tailoring shop. People who go in the spirit that they are to see a film version of what is almost a classic can hardly fail to be delighted with the beautiful series of pictures presented—though some seem, very far away; with the captivating music; with the exquisitely soft opalescent colours of the somewhat modern dressing; and with the artistic decor as a whole. ,

PRAISE FOR THE. MUSIC.

The music was recorded by the London. Symphony Orchestra, and the choruses sung by the D'Qyley Carte Opera Company, under the conductorship of Mr. Geoffrey" Toye. For the music there can be nothing but the | highest praise. There are lovely passages, and a total absence of blaring fortissimos, which are often inseparable from recorded music. Then, the established stage manner of doing the opera cannot be faulted in the film version, for all the "business." is there. KoKo is played excellently, humorously, and beautifully sung by Martyn Green, from the London D'Oyley Carte Company. His "Willow, Tit Willow" cari j never have been more touchingly given. He is equally excellently supported by his colleague, Sydney Granville, as Pooh-Bah. Constance Willis is magnificently forbidding in the real | Gilbertian style, but there is no reference to her left shoulder blade or her ! right elbow. The Little Maids are a dainty trio, but they do stand out exactly like film stars and they are not particularly like Japanese. As YuniYum Jean Colin gives a pretty performance, and the same can be said of Elizabeth Paytiter (Pitti-Sing) and Kathleen Nay lor (Peep-Bo), both good singers, who'have considerably less to do. Of 'admirers of the original opera and frequenters of The Savoy in the days of George Grossmith, Rutland Barrington, and Rosina Brandram,, there may not be many left to criticise; but there are vast numbers who will never forget Sir H. Lytton, Derek Oldham, Bertha Lewis, and their contemporaries, and who will not altogether approve the film. Another point of comparison between stage and film is this: on the stage the people are life-sized, the lighting is soft, and make-up detail is not overevident; on the film the close-ups are enormous, and clever as is the makeup and wondrous as are the burnished black wigs, these enlargements destroy the more delicate (Silhouettes of the stage, particularly in a satirical fantasy like "The Mikado." IT CAN BE ENJOYED. However, to go once will not be enough. This film could be seen and enjoyed over and over again—always with the recollection that it is a film, with its huge-scale close-ups, and is different from the delicate presentation of the world-famed "The Mikado." The music alone should ensure its success, and be an education to the film audience who has never heard it, or heard of it, before. But the American intonation of Nanki-Poo will cause a shudder every time he talksr Newspaper criticisms are distinctly mixed, and few are genuinely enthusiastic. . It is stated that the film cost £200,000 to make. Of this, about £4000 was spent on the make-up department. The premiere London showing was in the nature of a gala night, when the seats were sold to augment the funds of the Boy Scouts' organisation. - The Duke and Duchess of Kent were present, with many other distinguished people. In 1889 the profits from "The Mikado" built the Savoy Hotel. The question is, how will the film box-office respond? Some people look upon this box office as the most fascinating gamble in film history. Heirlooms and jewellery worth £2000 were stolen while guests were at dinner at Denne Hill, the country home near Canterbury, England, of Major and Mrs. S. E. Allen. ,< "Hi'