“Street of Sin”

Sun (Auckland), Volume II, Issue 538, 15 December 1928, Page 23

“Street of Sin”

EMIL JANNING’S LATEST Regent Books Underworld Drama ANOTHER special Paramount production, starring the famous actor Emil Jannings, is coining to the Regent. It it “The Street of Sin,” a powerful underworld story with a new twist. Jannings is one of the greatest artists the screen has produced. His work in “Variety” and “The Last Command” set new standards, and his latest characterisation is equal to anything offered in the past.

Emil Jannings might be described fittingly as the Napoleon of the silver sheet. In each of his pictures, his personality dominates every scene and situation, and the production is measured by his merit and his alone. This is especially the case in “The Street of Sin,” a film that exploits the star to the utmost and gains its appeal from his work and popularity. It is an underworld drama of stark power, and rugged, human theme — a film for the student of realities rather than the seeker after tinted romance. It is the struggle between good and bad in both a slum community and a slum - leader’s heart. The usual heroics aud excitements of the underworld drama are almost entirely absent. In their place is an atmosphere of coarse, almost primitive, passions and hates, narrow embittered outlook, and brutal, selfish domination. Jannings appears as a leader of criminals who haunt the by-ways of a city. Fay Wray is a Salvation Army worker who captures his heart aud gradually turns him toward the better things of life. Olga Baklanova, the Russian actress, is magnificent in the

part of tlte street woman who is the gang leader’s slave. While planning a robbery the gangster meets the Salvation Array lass and falls in love with her. She opens an Army refuge, and is assisted in her work by the man, who labours whole-heartedly until the attraction of the old life proves too strong. In an outburst of rage he accidentally sets lire to the shelter, but manages to rescue the girl, who finally completes his reformation. The photography and effects in “The Street of Sin” are exquisite, despite the nature of the scenes, and each sequence ha% been modelled to perfection. The picture is one of the year’s outstanding productions, and should not be missed.

“VERDUN” French War Picture Screened in London ACTORS ARE ANONYMOUS To every country its own war films, representing in some way or another the national attitude to the war, must be the most moving. But if British cinema-goers have already viewed the rather theatrical American war films and the conscientious German ones with interest, how freely must sympathy join with interest now that the big French epic “Verdun” comes to the Marble Arch Pavilion, writes ail English critic. France has been slow, reticent, in giving the world a film to represent on the screen something of her own costly and heroic war years. And now that “Verdun” is before it, we find a simple, unstressed story which presents the tortured soil itself, simple anonymous humanity itself in the guise of actors, even of armies. “Verdun” is a pictorial record of that sacrifice of 1916 which culminated in Ihe German troops being driven back. The film recalls in a simple and unpretentious way the celebrated phrase, “They shall not pass!” Here are the French poilu, the young Frenchman, the intellectual, the seri-

Board of Censors Includes Two Women npiV'O women are included in the Australian Board, of Films Censorship appointed last week by the Federal Cabinet at Canberra. The Censorship Board will consist of Mr. Cressioell O’Reilly, at present acting as Film Censor. Colonel Lionel Hurley, formerly Acting-Deputy Director of Immigration, and Mrs. Eleanor Glencross, of Melbourne. Mrs. Glencross ivas one of the first women to be appointed a justice of the peace in Australia. The Appeal Board will comprise Professor Wallace, of the University of Sydney, Mr. Ernest Blackwell, of Sydney, a former member of the literary staff of the “Daily Teiegraph:’ Sydney, and Mrs. M. Liddell. J.P., of Sydney.

ous, bearded father; the old peasant; the grave village girl, the s r oung widow; and equally human, the German field-marshal, the German officer and “Fritz." They pass and repass in the maze of war; we recognise them in the scarred battle areas, ' share momentarily their personal emotions. “Verdun" must have been of considerable length originally; the taslt of editing It to a suitable length must nave been difficult. For its simplicity and saneness, and the unobtrusive but effective spirit of passionate sincerity which inspires it, “Verdun” should find a cordial greeting.