THE REGENT

Sun (Auckland), Volume 1, Issue 86, 2 July 1927, Page 15

THE REGENT

“LONDON” The role of a rare little flower, whose petals had not been besmirched by the every-day pollution of Limehouse. is a role which Dorothy Gish can interpret to the entire satisfaction of a sympathetic audience. There is an ethereal quality in her beauty which never fails to appeal. Thomas Burke, whose “Limehouse Nights” and similarly powerfully drawn chapters from the life of London’s Chinese dockland quarter have deservedly made him popular, wrote “London” for Dorothy Gish. The film was presented for the first time in Auckland at the Regent Theatre last night. Despite the master hand of Burke, all the resources of British picturedom, and the great assistance of a recognised American star, “London,” on the whole, is somewhat of q disappointment. To begin with, the film is a set of entertaining glimpses of the great city, and the vivid life of the metropolis, held together by the art of Dorothy Gish. The American star has had many better roles than that of “the little Hogan girl” of Limehouse, whose highly fantastic association with the peerage is not the slightest bit convincing. Yet there are parts of “London” seldom equalled in a British film. Note, for instance, the fireworks display at Henley. Interesting, too, are the glimpses of the famous —or infamous—- “ Kit Cat Club,” one of London’s celebrated night haunts. Then there is the broad back of Paul Whiteman. American “jazz king,” of whom a momentary glimpse is caught. Comparisons are always odious. Yet it is only fair to say that Dorothy Gish in “London” has not quite the same attraction as the impulsive Nell in her delightful presentation of the Charles 11. favourite. Billie Andreasson, Hildred Graham, Billie Sim, and Queenie Graham were seen in a number of screen tests in connection with their candidature for “Miss New Zealand 1927” honours. Probably most difficult of all were the impromptu speeches. All received a very encouraging reception. Laughter and applause greeted Billie Andreasson’s advice when she said: “Vote for us all; we all want to win.” Billie Sims must have had the “No, No. Nanette” motif in mind, for she “wanted to be happy,” was “happy” to be back, wanted everybody else to be “happy.” and generally was bubbling over w r ith a desire that the audience should be “happy” to. Now, Hildred Graham did want a trip “down South,” but in her wildest expectations did not look for a trip to Hollywood. The audience applauded her modesty. Queenie Graham said she did “so much” want to appear with the other girls, and contented herself with a simple statement of thanks. Eddie Horton varied his programme on this occasion by playing the Schubert “Serenade.” Particularly effective, too, was the rendering of the Keler Bela “Romantique” by Maurice Guttridge and his orchestra. A “Know Your Own Country” film—which in this instance was Australia and not New Zealand; interesting glimpses of Southern Europe; a comedy and the usual Regent News, filled ,& well-assorted bill.