STRIKING PLAY AT CRYSTAL PALACE.

Star (Christchurch), Issue 17999, 9 November 1926, Page 5

STRIKING PLAY AT CRYSTAL PALACE.

CAROL DEMPSTER STAR IN “ THAT ROYLE GIRL.” Miss Carol Dempster, who was the bright particular star at Crystal I’alace last night, has many, perhaps all, the qualities that make for success in the movies. She is pretty, graceful and piquant, .and has unusual talents as an actress, and she makes “ That Royle Girl ” a picture worth going to see. Mr Griffith has made this picture a powerful one. It ranks amongst the most powerful and affecting films that bear his name as director. It is an attempt'—a highly successful one—to show on the screen some phases of modern life. It may be described as a representation of the jazz element in society.- It is set in Chicago’s jazziest district, and the jazz spirit pervades it from beginning to end. It is far from being a good advertisement for the jazz life. As a matter of fact, it shows jazz and all that jazz implies, as a good thing to be avoided if peace of mind is desired. Miss Dempster appears as a beautiful mannequin, infatuated with the leader of a dance-hall orchestra. A wealthy bootlegger, a leader of a bootlegging gang and a highly respectable district attorney, who falls in love with the bewitching mannequin and finally marries her, are some of the leading characters created by Mr E. Balmer 1 in his written story, and brought on to the screen in Mr Griffith's able adaptation. These people not only taste the doubtful pleasures of Chicago’s cabarets, but find themselves drawn into a murder trial. A sensational escape is followed by a mad rush to the Governor's to stay the execution, and then the accused person establishes his innocence. Every foot of the film is dramatic. a great deal of it is very emotional* all is characterised by powerful acting. There is nothing fantastic about the plot or the incidents. They are quite possible and natural. They might have been taken from actual life in Chicago or any other large American city where certain people live the jazz life. Some of the effects produced are decidedly novel. For instance, there is a jazz place done in cubist effects, a weird combination of angles and points. A particularly jazzy cjjisode has for its setting “Tut’s Temple,” a. cabaret designed on Egyptian lines. Through it all there is the sparkling.

distinctive personality of Miss Dempster, whether as a gorgeous cabaret dancer, a resplendent dressmaker’s mannequin, or a shabby newsgirl. “That Royle Girl,” however, is not a one-part picture. Some fifteen notable players are in the cast, and each contributes to its success. After Miss Dempster the most talented of these is Mr .lames Kirkwood, who takes the part of the attorney—a difficult part, well played. Mr Kirkwood has been in many big pictures, and his experience and versatility stand him in good stead in “That Royle Girl.” Then there is Mr W. C. Fields' as the mannequin’s father. Mr Harrison Ford is the musician who first attracts the mannequin's affections, arid Mr Paul Everton is the wealthy bootlegger. Miss Florence Auer, Miss Alice Laidley, Miss Ida Waterman, Miss Dorothea Love, Miss Marie Chambers and Mr F. All worth have important parts. The humour of the piece is provided bv Mr W. C. Fields, who was a comedian with the Ziegfiekl Follies, and who imparts fun to every character he takes. “That Royle Girl” was supported first by a “Blue Ribbon” comedy, impossible but very diverting, and secondly by a topical "Paramount Australian Gazette,” which included scenes connected with the Melbourne Show and several competitors for the honour of being "Miss Adelaide” in South Australia's beauty The Symphony Orchestra used a spell! 3 Brad ford.' an cl ta i n ut* for t h one of its best efforts. With classical pieces there were several homely pieces, notably "Home, Sweet Home,” which fitted into the big picture. "The Smithy in the Wood.” played as the entr'acte, with anvil affects, was heartily and deservedly applauded.