‘THE DIVINE WOMAN’

Evening Star, Issue 19952, 23 August 1928, Page 5

‘THE DIVINE WOMAN’

GRETA GARBO 1H PARISIAN DRAMA t*'iini dramas of .a Parisian genre are invariably popular with picture audiences. The American screen presents them with a degree of costliness scarcely equalled on any other screen; with much smart piquancy, snappy humour, and drama. 1 The, Divine Woman,’ the attraction to open at the Octagon llieatio to-morrow night, which features Greta Garhu ui the title rnie, is just such a drama, based on incidents from the yde of Sarah Jicrnhardt, that most vivid personality. Greta Garbo presents the Divine Sarah with commendable restraint, and just sufficient llamboyancy; her rise from a peasant in sabots to bo the must courted woman in Europe, with a universal tame, is cleverly shown on the (screen, with all the dramatic and romantic adjuncts that go hand in hand with such an ascent. The film is remarkable tor the number of “sets” of notable places in Paris; the Paris Opera, a beautiful piece of architecture, is perfectly reproduced as the scene of so many of Dernhardt £ triumphs. In the midst of all the intriguing jealousies, careless loves, one admirable romance stood out in the life of this strange woman. According to this picture, and it holds to he based on fact, the hcklo and mercenary Sarah loved, a soldier, as women will, ami will continue to do; hut the, ghost of possible wealth eiikl lame hoioic her, ami though the soldier stole unci deserted for her, she turned her hack on his love. In'later years, ol course, when the gilt has worn off her theatrical and romantic gingerbread, and (hough still hearing the shouts of Die multitude' in her ears, she again hears the call of the heart, the greatest drama in her life is played out. Ibis picture, with such a theme to go upon, and with such an array of events and such a company of players, should prove a most acceptable offering next week. Associated with Greta Garbo arc bars Hansen. Dowell Sherman, and Dorntliv Gumming.