AMUSEMENTS

Stratford Evening Post, Volume I, Issue 77, 10 March 1931, Page 8

AMUSEMENTS

A TRIUMPH IN COLOUR " NO, NO, NANETTE ' FIRST NATIONAL SUPER-PRODUC-TION The filming of motion pictures in colour reaches its greatest effectiveness in "No, No, Nanette," First National's lavish screen musical comedy, which the King's Theatre has hooked to start to-night, according to newspaper and magazine critics wherever the picture has been shown. The colours, it is said, are a delight to the eye, and the scenes look as natural as they would outside the theatre. Players lose the "shadow" effect of black and white photography and look as real as people seen on the street. "No, No, Nanette," in fact, seems to represent the perfection of the Technicolour process. Four of the biggest scenes ever made for the screen have been filmed in colour for "No, No, Nanette." They are the Mars, New York, Holland and Japanese numbers. The audience's reaction to these dazzling sequences, filmed on the largest sound stage in the world, built at the First National Studio especially for this picture, is described a 3 startling and lasting. Each of these scenes cost more money than the entire original stage production, on which the screen version is based.

Clarence Badger, director of "Nanette," was in his youth an inventor of a colour printing process. Multi-coloured printing is fundamentally the same process used in multicoloured filming. Badger was not content merely to direct "No, No, Nanette"; he followed his picture through the laboratory and cutting rooms into its final release stage. He is known as the most advanced colour director in Hollywood. "No, No, Nanette" features Bernice Claire, Alexander Gray, Lucien Littlefield, Louise Fazenda and a tremendous cast and chorus.