RUDOLPH VALENTINO IN “THE EAGLE.”

Star (Christchurch), Issue 17831, 27 April 1926, Page 7

RUDOLPH VALENTINO IN “THE EAGLE.”

IMPERIAL RUSSIA DRAMA SHOWING AT LIBERTY. Rudolph Valentino stands for a full house whenever he is billed, a fact which was again made evident at the Liberty Theatre, where the screen’s most popular “hero" appeared last night in “The Eagle.” Associated with Valentino were V'ilma Bankv and others who rank among the best, and their combined work has given a picture which will appeal to all. “1 he Eagle” is a drama of Russia of the Imperial era, and it discloses much of the gaiety of the Continent, of which so much has been written. The purely dramatic moments arc judiciously relieved, but the continuity of the story is unbroken, and the climaxes have been well considered. The picture is really founded on Pushkin’s play, “Doubrovsky,” and it takes the spectators into many quarters—from

courts to slums, of the Russia of preBolshcvik days. Vladimir Doubrovsky, an officer of the Cossacks, is looked on favourably by the Tsarina of the times, but. realising his position, lie evades her advances and becomes the subject of a warrant for arrest. At the same time as he falls into disfavour with the Tsarina he learns that a powerful neighbour of his father has succeeded in acquiring the estate by trickery. Vladimir then becomes “The Eagle,” and later occupies the position of tutor in the enemy family. Matters become complicated because there is a pretty daughter, though she has a will of her own. One of “The Eagle's” men is captured and punished, and to relieve him Doubrovsky gives himself up and is taken to Moscow to answer two charges. However, he placates the Tsarina and gets away from her, eventually to marry the girl of his choice. The picture is very well mounted and the costuming is extremely elaborate. There are features which make one cease to wonder that Rusascertaining the temperature a thermohas to reconcile one's thoughts to the times. Apart from political thoughts, nowever, there is a lot in the story, and it makes gcod entertainment.

A bunch of small boys, black and white, while they give their parents much anxiety, amuse themselves greatly and at the same time give the picture-goers plenty of laughs. It is a couple of thousand feet of sheer non sense, but that was the intention of the producer, and it was never intended to be taken seriously. In the Pathe Gazette the best scenes are those dealing with St Peter’s, Rome, of which many fine views are shown.

The Liberty Quality Orchestra, under >Mr Ernest Jamieson, gave, as usual, a programme of music which added to the merit of the screenings. The numbers were judiciously chosen and included the following:—Overture, “El Capitan” (Sousa) ; “Ballet Russe” (Luigini) ; ballet music, “Copellia” (Delibes), “La Czarina” (Ganne), “Cossack Revels” (Tschaikowsky), “Serenade" (Rachmaninoff). “Algeria” (Tschakoff). entr’acte. “Menuet” (Paderewski). fox trots. “I Want You to Meet Me," “Why Leave Me Now?" “I Will,” “Don't Bring Lulu.” The box plans are at The Bristol Piano Company, where seats may be reserved.