BEHIND THE SCENES

Sun (Auckland), Volume III, Issue 727, 29 July 1929, Page 15

BEHIND THE SCENES

“STUDIO MURDER MYSTERY” THRILLS AT THE REGENT As the hands of the clock approached midnight, the busy drone of the motion picture plant died away. One after another the “employees left the building, and, as they departed, the gatekeeper checked their names on his admittance list. Eleven o’clock. According to the list all had left, and the gatekeeper waited for his friend, the watchman. Suddenly the sound of stumbling footsteps; the hoarse breathing of a man in an extremity of terror. Into the pool of light in front of the gate office staggered the watchman. What horror had he witnessed? Why did he not speak? Thus isthe, .stage set for the- open mg of ‘The Studio Murder Mystery,” a thrilling sound and talking film which held the rapt attention of a first-night audience at the Regent on Saturday evening. ‘"The Studio Murder Mystery,”" obviously a play written for talkie purposes, is one of those disarmingly candid mystery tales that allow one to be ‘ in the know”—-up to the critical point. Who killed the leading man, found stabbed on a studio “set” the morning after that extra-ordinary incident at the main gate? That was the puzzle provided for the ingenuity of Saturday evening’s onlookers and listeners. There was the foreign producer who had threatened the dead man only that evening. But he had a “water-tight” alibi. There was the dead man’s widow. No love had been lost between the pair. Finally there were the infuriated girl, who had been deceived by the actor, and her drunken brother, eager to avenge the slight on his family. This Is an exceedingly clever mystery picture; practical and entirely feasible in construction, thrilling from first to last without being absurdly sensational, and, withal, simple—after ono is given the key to the riddle. There is the usual fathead jjoliceman character, the trembling young heroine, found guilty of a crime she is psychologically and physically incapable of committing, and the smart young hero who ultimately puts the police department to shame and is able to claim: “Alone I did it.” But these indispensables are introduced in novel surroundings, and, moreover, are most excellently acted. Enthusiasts who hanker to know just what lies behind the lens of the camera on a movie “lot” should see "The Studio Murder Mystery,” likewise he who prides himself upon his deductive prowess. Acted cleverly by a well-selected cast, the picture serves to present volatile Neil Hamilton as a talkie star of great promise. He speaks admirably, as do Doris Hill, his leading woman, and Warner Oland. On the whole the voice reproduction is Inclined to be muffled: nevertheless it is realistic and splendidly complete. The film talks and sounds from the opening “shot” to the final fade-out. Supporting the feature on Saturday evening was a delightful programme of pictures, sound, talk, and music. Easily the outstanding “short” was the one-man burlesque “Humorous Flights,” by Donald Ogden Stewart, a master of dry subtlety. Though reminiscent of the famous “Monte” speeches, his work is on new and quaint lines, compelling mighty chuckles. “Moonshine," a dramatic playet concerning a remarkable bluff put up by one rejoicing in the name of “Jim Dunn” was an excellent example of talkie technique, and two admirable Bathe sound reels carried the audience here and there. Then a Charley Chase comedy, in which the audience provided the sound- —laughter peals. Finally, the playing of Mr. Arthur ■ Frost at the Regent organ. His contributions set a seal of completeness j on a first-class evening.