“THE HAYSEEDS.”

Star (Christchurch), Volume LXVI, Issue 20204, 15 January 1934, Page 3

“THE HAYSEEDS.”

Australian Comedy in Second Wee I; at Plaza.

*• The Hayseeds.” the latest Australian comedy, began the second week of its successful season before crowded houses at the Plaza Theatre on Satiir day. Australian motion picture studios have turned out a number of notable films in the past year or so. and, al though the industry is yet young in the Commonwealth, some of these have beet of a standard equal to the best Ameri can and English productions. With h<r vast resources in the way of open-ai scenery. Australia has made a mark fo herself in outdoor films, and especiallj those outdoor productions of the Steele Rudd brand, such as “On Our Selec tion.” In “The Hayseeds ” (come tr town) much of the open-air atmospher is retained, although the farm family find themselves in a big city during % considerable portion of the story. “Th Hayseeds” is a triumph for the pro ducer, Mr Beaumont Smith, who no only took the helm in making the film but also wrote the play. The pictur had its premiere at the Civic Theatre Sydney, and ever since then Mr Smith has been deluged with congratulations. Robust and virile humour—of the type that has always appealed so much to Australians and New Zealanders—is the keynote of “The Hayseeds.” Reminiscent in some ways of " On Our Selection.” it is even more hilarious and enjoyable than that record-breaking production. Its characters are human and readily understandable figures. The cast is a particularly strong one. Cecil Kellaway. the popular J. C. Williamson comedian, plays the part of Dad, a bewhiskered old gentleman with many funny little ways; and the story opens on Dad’s farm on a peaceful Sunday' afternoon—a peace, incidentally, that is soon broken by the hilarious and surprising ramification of the clever plot. “The Squatter’s Daughter” indicated that there is plenty of latent screen talent in Australia, and “The Hayseeds” confirms that impression. Many of the artists of the latter picture, however, have been drawn from the stage, and their experience in that medium has obviously benefited them in their new venture as screen stars. For instance, Shirley Dale, the heroine of the piece, was principal of “ Music in the Air.” the show produced so successfully in Australia by J. C. Williamson’s; and Arthur Clarke, the hero, is also from “ Music in the Air.” Others of real note in the excellent cast are Kenneth Brampton and Katie Towers. The latter takes the important role of Mum. and proves a most delightful foil to Cecil Kellaway as Dad. Excellent sup ports complete this bright entertain ment. “ Loyalties ” Coming. The “ Sydney Morning Herald ” recently drew attention to “ one of th most brilliant pieces of dramatic literature which have appeared during the present century.” The reference wa to “ Loyalties.” the British screen ver j sion of John Galsworthy’s great humai drama which will be featured at tli I Plaza Theatre shortly. “ Loyalties ” i I something more than a mere motioi picture; it is a stirring chapter of rea life, that comes to the sceen as timely as the moment, laying bare a crisis tha is to-day gripping Europe, and particu lar 1>- Germany, by the throat—crucify ing alike, on the brazen altars of racia antagonism, the pride of men and th loving hearts of women. Many though that it would be impossible to produc “Loyalties” on the screen without giv mg offence to Jew and Gentile alike but this age-old. real-life problem, deli cately handled in inimitable Galsworthy manner, setting a new and higher stan ' dard in dramatic screen entertainment has been enthusiastically welcomed am applauded by all sections of the com munity. Basil Rathbone. himself % Jew. heads the big cast of the magni ficently-acted “ Loyalties.” and his por trayal of De Levis, the young autocratic Jew. is said to be little short of inspired.