"MIKADO” FILM

Greymouth Evening Star, 21 February 1939, Page 10

"MIKADO” FILM

AN AMERICAN NANKI-POO. LONDON, January I'3. There seem to be three lines ol approach when considering and discussing the new British film 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 cf escape, if the producers feel they want one. '3l There arc the millions- of

cinema-fans of to-day 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 thunder-

bolt —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 doos not | suggest a Japanese in any respect, but he has a flexible tenor voice. When he sings, which lie does delightfully, there is no trace 0.l in's accent, lie acts easily. Bn! surely an Englishman conversant with 'he part could have been found for the film version! Disapoiiitimnt, too, is inevitable for those who so well know the. ‘‘book,” because, reverent as has been Mr

Geoffrey adaptation, six favourite items liavo been deleted, notably Ko-Ko’s patter song, "Lvo Got a, Little List," the quintet,.“Sec How the Kates": and Katisha’s limitative “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 arc some of the funniest. There is a. longish prologue, too which may bo a. necessary introduction for the cinema, but which can well be imagined when the opera is presented. l 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 tu 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, PRAISId LOR THE MESIC.

rhe music was recorded by tin: London Symphony Orchestra, and the choruses sung by the D’Oyiey Carte Opera. Company, under de. comiuctorid’.ip of Mi Geoffrey Toye. Eor the music there can be nothing but tie- | highest praise. There are lovely pa-;-i sages, and a total absence of blaring fortissimos, which are often inseparable from recorded music. Then, the established stage manner of doing fhropera, cannot, be I'.niltmf j n fj 1( , ( j| m vetsion, lor a.tt ;he ■■business” is th'-ie. Ko-Ro is played excellently, iiiimormtsly. and bountifully snug; by -• t • .. i >: ••> j:. ; i Hie Lo ml < m I’’; carte company, f its •' tvilm«■-. h i- Willow" cm never have bceii more-

touchingly given. 1-Ie is equally excellently supported by his coleague, Sydney Granville, us Pooh-Bah. Constance Willis is magnificently forbidding in the real Gilbertian style, but there is no reference io her left shoulder blade or her right elbow. The Little Maids are a. dainty trio, but they do not stand exactly like film stars, and they are not particularly like Japanese. As Yuin-Yum Jean Colin gives a pretty performance, and the same can be said of Elizabeth Paynter (Pitti-Song) and Kathleen Naylor (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 I-I. 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 net over-evident; on the film the close-ups are. enormous, and clever as is the make-up 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.”

However, to go once will not be enough. ’[ hi;-; film could be seen and enjoyed over and over a,gain- always with the recollection that, it is a film, with its huge-scalc close-ups, ami is different from the delicate presentation of the world-famed ’‘The .Mikado." The music aknm should ensure its success, and be an ed»ication Io Hie film audience who lias never heard it., or heard of it. before. But the American intonation of Nanki-Poo will cause u shudder every Lime he talks. Newspaper erticisms are distinctly mixed. ami few are

genuinely e■ 11 hits i a sth.'. it is stated that the him cost .CW.IMUI to make. Of this, about £4001) was spent on the make-up debut tment. The premiere London shewing was in the nature of a gala night, when the seats were sold to augment the funds ol the Hoy Scouts’ 01 ganisation. 1 lie Duke and Duchess cl Kent were present, with many ether distinguished people. In LSSt) the profits from "The -Mikado” built the Savoy Hotel. The question is, how will the film boxoffice respond? Some people look upon this box office as the most fascinating gamble in film bistorv.