STILL BETTER

Sun (Auckland), Volume II, Issue 584, 9 February 1929, Page 15

STILL BETTER

BRITAIN’S “MOULIN ROUGE ” STRIKING MAJESTIC BILL Not long ago the British International picture, “Moulin Rouge,” was screened for the first time in London. Among the many influential people present were four men, buyers for South America, Spain, Holland. Italy, Bulgaria, Rumania, Greece. Ttirkey, Palestine. Egypt and India—a huge slice of the world’s market. After viewing the film one of these men said: “If Britain can make four or five picture like ‘Moulin Rouge,’ it will wipe America off the Continental market.”

Now this highlyrated and muchdebated production is in Auckland. It opened at the Majestic yesterday and will run for an all - too - short week. “Moulin Rouge” alone would be a striking attraction, yet it is accompanied by excellent supporting

items on both screen and stage.

Here is the programme, one of the best offered in the Fuller-Hayward house for many a day: First, a clever stage band presentation, “The Seven Crazy Clown Syncopaters.” together with Folole Lilliokalani. a captivating Hawaiian dancer. This is the sort of interlude entertainment that merits and meets with instant appreciation A smart and up-to-date little band plays popular numbers in a lilting, modern way, and a vivacious dancer provides colourful and sinuous contrasts. Last evening the stage setting was unusually attractive, and the little show received an ovation. Then comes another of those amazing naturo studies for which the Majestic programmes are becoming famous. It is titled “Amazing Lovers,” and consists of a fascinating peep into the domestic life of the homely snail. Thirdly, the la’test issue of the Majestic film news, a budget of prominent topics from every corner of the earth, and fourthly, a joyous comedy that sparkles with quaint situations and hilarious happenings from the first scene to the last shot. Finally, there is “Moulin Rouge,”, a picture we may class immediately as a still better British production—the best yet screened in Auckland. It is. in fact.

: one of the most brilliant screen l achievements that the year has - brought forth. There is nothing typically or even i suggestively English about "Moulin Rouge.” Its atmosphere is completely ' Continental, and perhaps it was that ' which produced a chorus of disapproval j from London critics. In any case the r masterly work of Mr. E. A. Dupont, ? director of “Variety,” has implanted a - panorama of gay Paris and the notorious Red Mill that ousts all else. i The photography of this Elstreet made picture is magnificent. Dupont s has utilised the most modem ideas with careful restraint, and the result , is a series of fascinating sequences. ■ which hold one’s undivided attention. Tho interiors are amazing in the breadth of their spectacular effect, but

Dupont’s cunning keeps in the foreground only the story and the personalities of the principals. The rest is a glowing background, but a background only. The. them© is daring and unusual—tho infatuation of a man for the beautiful mother of the girl to whom he has become engaged. She is the star of tho Moulin Rouge, a pulsating figure of alluring womanhood beside whom tho daughter is colourless, almost uninteresting. Tho story introduces one of the most effective thrills devised for the camera: a motor wreck that is calculated to galvanise the most blase onlooker. The star is Olga Tschechowa. a stranger to Auckland picturegoers Her work is magnificent and places her among the few really great artists of the silver sheet. Supporting her is Eve Gray, a clever little actress, and Jean Bradin, a super-handsome youth for whom one may predict a brilliant career. Numbers of other capable people fill minor roles, and the whole cast of the “Paris-New York” revue appears in the big scenes. The work of Mr. J. Whitefordd Waugh’s orchestra is worthy of the occasion. The selections last evening included excerpts from “Faust.”