GENUINE POIGNANCY

Evening Star, Issue 21722, 17 May 1934, Page 12

GENUINE POIGNANCY

1 OfILY YESTERDAY' A SINCERE PICTURE ‘ Only Yesterday,’ which begins at the Regent Theatre to-morrow, is, up to a point, a film of exceptional force and sincerity. Margaret Sullavan, an actress whom this picture brings for the first time before the cinema public, is a player who takes her place immediately among the genuinely distinguished stars of the screen. In discussing her work, there is no need for the reservations that must be made when the film itself is under review. , In its early scenes, ‘ Only Yesterday ’ is a worthy medium through which to present this new player. The opening scene, which offers a description of a hectic, chattering cocktail party in an expensive New York apartment, is a brilliant piece of film-making, all the more commendable because the theme has been treated, in a commonplace style, a hundred times before. In the scenes which immediately follow, Margaret Sullavan’s portrait of a young girl in love is completely enchanting. Her voice is appealing, with a deep, husky tone; but it is not that alone which compels the spectator. Chiefly, it is a profound talent for the representation of mood and character. It is a pity that, after a time, the film is allowed to disperse its energies in another of those impossibly difficult deathbed scenes, with which film producers insist on weighing down otherwise excellent dramas. Billie Burke is a delightful aunt of the unhappy heroine, and John Boles, Reginald Denny, and Benita Hume fit neatly into other leading parts. ‘ Only Yesterday ’ is a Universal production.