The Screen Speaks

Sun (Auckland), Volume III, Issue 642, 19 April 1929, Page 11

The Screen Speaks

AUCKLAND GREETS TALKIES Magic of Film Voices and Sound SOUND and talking pictures, the newest contributions of Science to the entertainment of the world, have come to Auckland. Two city theatres are now presenting films ' which represent the most important advance made by the cinema in the present century. Last evening talkies made a joint debut at the Strand and the Regent Theatres, where programmes, carefully selected to embrace every type of sound and speech effect, were screened. And in each cinema audiences acclaimed an invention which may rank boldly with other mechanical Wonders of the age—radio and television. In the past 30 years, motion pictures have advanced from the uncertainty of experiment to world-conquering perfection. Once they were the Cinderellas of the theatre; to-day they are the chosen pastime of millions. For all practical purposes silent films are now incapable of further technical improvement, but the cinema must advance, and the gift of speech provides the logical impulse.. Two years ago, talkies began where the silent drama halted. Backed by the heritage of the established motion picture show, they face to-day a future as brilliant and as pregnant with possibilities as that which lav ahead of the screen in 1900. The talkies which amazed Auckland last evening are guaranteed and endorsed by exhibitors, who have recognised the importance of the innovation by catering liberally for its reception. Emphatically, talkies are by no means a passing Phase. On the contrary they are an earnest of future progress toward a time wherein the screen will be a flawdess reflection of reality, in sound, colour, and apparent substance.

Speeches, songs, conversations, melodies, and sounds accompany the new films now offered to an eager public. Soon the number of talkie theatres in Auckland will be increased, but for the present the Regent and Strand cater for the initial demand. Last evening’s success was a foregone. conclusion, for public taste is similar the world over, but it must gratify courageous showmen to know, to-day, that every promise and anticipation has been fulfilled.

AT THE REGENT Talkies add a new zest and interest to motion* pictures. That was demonstrated at “The Bellamy Trial,” part of which is in dialogue and part with sound and orchestral effects. When the dialogue began, taking up the running where the sub-titles had left off, the change came with the suddenness of a lifted curtain and gave a new glimpse of realism. Within a few moments one became used to the talkie voice, and from then on the play was the % thing—the mechanism was almost forgotten. A completely surprising evening was that provided by the Regent. Talkies, as represented by sound synchronised and dialogue films, scored heavily from first to last, in that they proved their immense possibilities. The verdict must be that 'they are afi that has been claimed for them.

A completely sound-synchronised and talkie entertainment, including even the overture and the National Anthem, was the Regent's achievement. Any air of unreality lasted only until the audienco had attuned itself to new conditions. From then on, only the apparently unavoidable flaws in the sound projection threatened to rend the life-like illusion.

Two features of the new films have yet to be perfected. The machines must overcome the obvious difficulty in dealing with all sibilant sounds. A lisp at the wrong moment can be jarring. Moreover, producers must carefully regulate the volume of sound in relation to the apparent distance from its place of origin to the audience. The remaining features are excellent. Synchronisation is perfect, and the projectors in the Regent gave us the soft sound of a shutting door, the kick of a foot, the rustle of paper, a woman’s faint whisper, even the sound of a man breathing. It was almost uncannily realistic.

Of the short subjects, which are practically first-class vaudeville turns, Ella Shields in popular songs was perhaps the best. Her voice was startlingly clear and well produced. _

The piano work of Vincent Lopez was an earnest of what the talkies could do, the turn of Bailey and Barnum showed the comedy possibilities; Joseph Regan sang in flawless tune.

In “The Bellamy Trial,” which, apart from its sound and talking features, is one of the most cleverly-devised mystery films we haVe seen, the voices of Leatrice Joy, Betty Bronson, Edward Nugent, and many others, were heard in an exciting murder trial, introduced as one of the features on a Metro-Goldwyn-Mayer newsreel. The dialogue sequence in the courtroom is an outstanding example of the value of talkies.

No sub-titling in the talking portion, and fast action explained dramatically as the voices of the witnesses explain their parts in the tragedy. These are features which distinguish this talkie thriller.

AT THE STRAND World-famous people, formerly only photographic ghosts, found their tongues on the screen at the Strand Theatre. His Majesty King George V. opened the Tyne Bridge to the accompaniment of a cheering throng; George Bernard Shaw, of literary fame, chatted confidently and, it must be confessed, rather egotistically; Gertrude Lawrence, the London stage star, sang one of her delightful and amusing songs, “I Don’t Know”; A 1 Smith, formerly Governor of New York, addressed an assembled multitude. So much for progress. It has brought the rest of the world to Queen Street. From a comfortable seat one saw and heard the clatter of carts and the chatter of cosmopolitan peoples on a quay at Gibraltar. Another flick and a host of American college girls were screaming their way through a game of pushball. A second later and one witnessed a military band on the march. The audience which sat in amazement at the Strand must have wondered where this amazing new film development will end.

The programme last evening did not consist wholly of talking films. Its most interesting feature was of course the almost human meeting witli famous people; but there were other unusual adventures to be sampled. Not the least of these was the music by the Roxy Orchestra of 110 performers. This accompanies a soundsynchronised picture, “The Street Angel,” and is particularly well-done. There was a feeling of curious unreality as the music issued from the screen itself (or appeared to), and one looked in vain for the flesh and blood orchestra which picture progress has brushed aside.

Janet Gay nor and Charles Farrell, whose excellent work in “Seventh Heaven” and “Sunrise” has made them two of the most satisfying film players, are the stars of “The Street Angel,” a full-length film accompanied by the Roxy Orchestra and containing two songs. It tells of an artist’s love for a waif of Naples, and is set in that fascinating city. Janet Gaynor’s personal loveliness is enhanced by the excellent work of the camera. An all-talking comedy effort, “The Star Witness,” features “Chic” Sale. It represents an American court scene, and is really a succession of “wisecracks.”

Briefly Gertrude Lawrence’s song was the most interesting talkie on last evening’s programme, and is an indication of what eventually will be done in the motion-picture world. Every nuance of voice and gesture was faithfully reproduced and the effect was altogether delightful.

Despite the faults of their infancy the new development has vast possibilities. The large audience at the Strand was obviously impressed by these last evening.