“THE GREAT GABBO”

Sun (Auckland), Volume IV, Issue 986, 31 May 1930, Page 16

“THE GREAT GABBO”

BRILLIANT SHOW STAGED AT MAJESTIC FINE CHARACTER ACTING In many respects “The Great Gabbo,” the feature picture which began a season at the Majestic Theatre last evening, is the most unusual play seen here for many months. Primarily the theme has to do with the peculiar psychology of a selfcentred ventriloquist. The story is set in the stage, but is not in the accepted sense a back-stage insight. One is in front of the footlights more than in the private rooms of the stars Periodically the viewer is carried away completely from thought of the Great Gabbo. the central figure, by the magnificence of the staging and ballet work of a particularly fine revue show. But always there is a return, skilfully, to the ventriloquist and one watches fascinated his reactions to a. complexity of forces acting on his curious nature. The picture is a striking illustration of the use to which the talking film can be put. The Great Gabbo entertains you as no other ventriloquist has ever done with his almost superhuman doll “Otto.” Erich von Stroheim as the egotistical Gabbo makes little Otto, wooden dummy though he is, speak with delightful humour and infuses a soul into the queer doll. But it is not chiefly the aspect of entertainment which holds attention to Gabbo or liis doll. Clever play-writ-ing makes Otto represent his master’s subconscious self. So we have the strange laying bare of Gabbo’s soul with its admixture of the brute and the tender lover. This would not be possible with the now historic “silent.”

The tale is simple. Gabbo, selfstyled “The Great,” has a devoted wife, played with appeal by Betty Compson, who, it may be said, has never given a more pleasing impression either in acting or in the voice. Living only for himself and discounting all else save his doll Gabbo treats his patient wife so harshly that she eventually leaves him. Gabbo’s sheer egotism and ambition carry him to fame on Broadway. And his wife, with h**r beautiful voice and ability to dance, is later billed in the same show.

But Gabbo has missed the gentle woman. }Jis true nature is revealed In liis queer conversations with the doll. The conscious Gabbo tries to suppress his finer feelings, but they ar° given voice in the doll, despite himself. Mere for a moment Gabbo the magnificent recedes into the background and you are introduced to rich and varied ballet. Grand! It is all done on the lavish scale, many of the scenes being in technicolour. “The Web of Love” is a lovely thing. Herein are featured Betty Compson and Donald Douglas as the spider and the fly. Their singing of several numbers “I’m in Love with You.” "I’m Laughing” and “The Web of Love” is charming. The play moves on and Gabbo and his former wife Marie meet. But . . . what follows is one of the unexpected climaxes which stamp this picture great. Von Stroheim’s character portrayal is superb. The Teuton infuses tremendous emotion, love, hate, masterful self-aggrandisement, into every scene and his speaking voice is» good. A carefully selected supporting programme is also presented. Among the topical features is a fascinating item showing an expedition to Mongolia, which discovered the fossilised remains of prehistoric animals. In colour Pathe presents views of Rochester, New York, and scenes in “Quid Ireland,” the Majestic Orchestra under Mr. Whiteford Waugh playing suitable music, one piece much appreciated being “Killarney.” “Down With Hus bands” and a Paramount sound novelty “I’m for Ever Blowing Bubbles” provided bright comedy'.