Katharine Hepburn in Morning Glory

Manawatu Times, Volume LIX, Issue 7471, 23 May 1934, Page 5

Katharine Hepburn in Morning Glory

State Presents NoZ* Premiere of Fine Film

WHEN a rare star such as Katharine Hepburn is given a vehicle that gives her full scope, a dazzling performance is assured. That is just what is offered in her powerful new drama, “Morning Glory,” which has its initial screening in N.Z. at the State Theatre on Saturday. Great characterisations are woven in a highly dramatic and intensely interesting story in this production. Added interest is attached to the story through its resemblance in many details to actual events of Miss Hepburn’s real life career.

Briefly, the drama centres about a girl’s gallant struggle for success on the New York stage, and her final triumph after bitter disappointments and cruel experiences. The girl of the story is an amazing mixture of genius, naive enthusiasm, romance and courage. Not a backstage production in any sense of the term, “Morning Glory” can be fittingly described as an epic of devotion to an ideal and unselfish love. The girl could just as easily have been fighting to win success as a writer or an artist. It is around her struggle and a unique love triangle that the interest centres. Miss Hepburn again proves her right to consideration as one of the greatest stars of screen history. Far from being a “flash in the pan,” this dynamic actress not only repeats the triumphs she won in “A Bill of Divorcement,” “Christopher Stone,” and “Little Women,” but even improves upon them with her amazingly understanding interpretation of the girl in “Morning Glory.” Douglas Fairbanks, Jr., co-starred with Miss Hepburn, gives a tremendously sympathetic and effective characterisation as a young playwright who believes in the gild, champions her when her prospects are darkest, and teaches her the meaning of idealistic love. Adolphe Menjou is at his polished best as a debonair and forceful theatrical producer. In addition to Menjou, such favourites as Mary Duncan, the veteran C. Aubrey Smith, Fredric Sant ley, Bicli-

“Lilies of tlie Field.”

A screen version of "Lilies of tiro Field ” will be produced by 13. and D. under the direction of Norman Walker. John Hastings Turner, author of the play, will collaborate with Dion Titheradge on the screen adaption.

Contract for Uence Houston.

ard Carlo, Tyler Brooke, Bon Alvarado, and Geneva Mitchell contribute strong supporting performances. From a directorial standpoint the picture ranks as another outstanding achievement for Lowell .Sherman. Howard J. Green wrote the screen play. It is based upon a play by Zoo Akins. With Katharine Hepburn portraying a modern Cinderella, a wide variety of feminine costumes, sonic of them extreme in fashion, are displayed by' her. In the early sequences of the picture, .Miss Hepburn is seen as a small town girl who is trying to win recognition on the New fork stage. For these scenes, the red-haired star wears a simple navyblue street dress of rough crepe. A navy blue felt hat, and black kid bag and gloves comprise the accessories which go with ‘this trim, but inexpensive and conservative outfit. .Strikingly in contrast is the dramatic and spectacular evening gown which the electric Ilcpburn personality enhances in scenes showing her achieving a stunning stage triumph. This outfit of silver sequins and white fox is form fitting and fashioned on extreme lines. Completely backless, it comes to a high collar in front, with points under each car. Gauntlet gloves of the same sequin material are worn with the gown. A vaudeville outfit, worn in scenes which show her acting as assistant with a Spanish juggling act, completes La Hepburn’s wardrobe. It consists of yellow satin blouse, black satin trunks, and a brilliant red and gold sash.

V/Uil Oi. tl-V- i'Ji. AXWVWUVii, lienee Houston, one of the famous Houston Sisters, who in private life is Mrs. Pat. Aherne, has been signed up by British International Pictures for one year. So far, no definite film part has been chosen for her.