POLA NEGRI AGAIN

Sun (Auckland), Volume II, Issue 531, 7 December 1928, Page 15

POLA NEGRI AGAIN

LATEST REGENT BALLET

A darkened theatre. Music from a full orchestra fills the auditorium, and one of Zane Grey’s mast vigorous outdoor romances is woven with fascinating realism on the screen. Then the sonorous tones of a big organ boom out, and as they swell to greater volume, supplanting the melody

from the well, the musicians a n d their instruments disappear. The picture is over. The stage is a blaze of coloured lights. The rich folds of the curtain quiver and rise, disclosing a big jazz band which, as one man, breaks into a [ j\o\v it is a variety show—a gay, sparkling interlude of song and dancing I that captivates by its speedy skill and 1 novelty. All too soon the finale is announced, and the stage show ends in a whirl of ! youth and music. Again the theatre is darkened, the screen reappears as if by magic, and Pola. Negri holds undisputed sway. Those are the high lights of the new programme presented last evening at the Regent. Entertainment de luxe it was again, for the catering was generous to a degree and embraced a dish for every palate. Maurice Diamond, producer of tlie stage ballet shows, is never at a loss for something new. He has an able lieutenant in Maurice Guttridge, leader of the Regent Orchestra and stage band, who is always successful whether he be shuffling time for the saxophones or piloting his immaculate henchmen through an appealing overture. “Bells and Bathing Belles’* was the title of last evening's interlude, and anticipations thus rousrd were realised to the full. In every number the frocking of the ballet was delightful, and particular care had been taken to provide a setting worthy of the occasion. Stella Lamonde made an appearance and sang two popular numbers, while the big bell in the background rose later for the entrance of Freddie Hodges and Ivy Tawe, Julie Thompson and Nancy I^ourn. Pola Negri’s pictures are always good, but “Loves of an Actress” is an exceptional production. It is a European story centering round the life and loves of Rachel, a celebrated actress of the last century, and Miss Negri made a special study of her part during a visit to the Continent. In the picture she wears many gowns fashioned from clothes actually worn by the notorious Rachel, and ravishing models they are. An unusually cosmopolitan cast supports the leading lady, the photography is excellent, and all the resources of Paramount have been explored in providing settings of striking richness and beauty. The story is the romance of Rachel and her lovers —her jilting of man after man that ends only when she is threatened with the loss of a handsome, unspoiled youth who has suoceeded in touching her heart. The picture ends on a tragic note with the death of the actress. Paul Lukas, Nils Asther, Nigel de Brulier, Philip Strange, Mary McAlister and Helene Griere are among the players. “The Water Hole” is all that a screen version of a virile Zane Grey yarn should be. It breathes the spirit of the outdoors and tells of the taming j of a shrew in a particularly efficient j manner. Jack Holt is the leading man and Nancy Carroll his heroine.