NATIONAL AND LYRIC

Sun (Auckland), Volume 1, Issue 12, 5 April 1927, Page 12

NATIONAL AND LYRIC

TWO FINE PICTURES ‘•Unquestionably, both are fine pictures,” was a remark overheard by THE SUN reporter after viewing the first screening of “The Keeper of the Bees” and “The Blonde Saint.” “The management is to be congratulated upon the arrangement of an unusually attractive programme, and I thoroughly enjoyed a pleasing evening’s entertainment.” “The Keeper of the Bees” is the film version of Gene Stratton Porter’s last story of that name before her tragic death in a motor smash. The story tells of a young war hero wounted and given up by doctors as incurable. Realising that nothing can be done for him the young soldier runs away from hospital and meets an old man—the Bee Master —who is ill and craves assistance. The old man dies and leaves his property to the hero, James MacFarlane (Robert Frazer) and to his little beekeepingpartner, the incorrigible “Little Scout,” who turns out to be a girl and is heartily ashamed that the fact becomes known. One night during a storm Jamie saves a girl who is trying to throw herself into the sea. She is in evident distress and finally induces him to marry her, which he is quite ready to do, believing he lias only a short time to live. From this marriage the plot develops in an interesting and distinctly novel way, with unusual complications and ultimately reaches a happy conclusion. There are many scenes of deep pathos, not overdone, but carefully harmonised with the many lighter touches of the drama. It is a Gene Stratton Porter story; one need say no more. “The Blonde Saint,” in which Doris Kenyon and Lewis Stone give the greatest characterisations of their careers to date, can well be heralded as a “different sort of picture.” The theme is set first in the palatial gardens of a Roman princess, then amongst the wild villagers on a lonely island in the Mediterranean. This is essentially an “outdoor” picture and is of the highest order of tense, swiftlymoving drama. One is aware of a distinct sense of regret when “the end” appears on the screen. A bracing comedy, a gazette and the orchestral overtures complete a firstrate programme.