THE REGENT.

Wanganui Chronicle, Volume 72, Issue 112, 13 May 1929, Page 11

THE REGENT.

“The Man Who Laughs,” Universal’s super-production of the immortal Victor Hugo novo], which has its final showing of a three nights’ season at tk« Regent Theatre this evening, is, t the same time, one of the most powerful dramas ever executed, as well as the most lavish unparalleled depiction of eighteenth century atmosphere ever presented on the screen. The film surpasses the previous Hugo-Universal films in magnificence of setting, dramatic intensity and heart-gripping qualities. The story of the mutilated mountebank’s life-long devotion io the beautiful blind Dea is as human as the background is lavishly worldly. Against this rich background, a distinguished cast contributes some of the Ifinest action that has yet reached the screen. Conrad Veidt and Mary Philbin play the roles of Gywnplainc and Dea, while in the supporting cast are Olga Baclanova, Brandon Hurst, George Siegmann, Sam De Grasse, Stuart Holmes and Cesare Gravina. One of the most remarkable features of “The Man Who Laughs” is the excellent work of the principal characters in expressing the most severe and also the tender emotions, despite the unusuai limitations of their roles. Conrad V’eidt registers pain, despair, joy and love by means of his eyes and the muscles of the upper part of his face. His mouth is a grinning mockery. Mary Philbin conveys the blind Dea’s need in spite of blank, unseeing eyes. Brandon Hurst portrays the craftiness and sly humour of the court jester from behind a network of ■wrinkles and a mask of sheer ugliness. Olga Baclanova, however, exerts her seductive charm unhampered by anything more substantial than powdered ringlets and some of the most alluring costumes that have ever graced a picture. Book seats at A. D. Willis and Co., or ’phone 5252. Tim McCoy, hero of many epic dramas of the plains and of the Indian country, assumes the role of a gallant Southern cavalry officer ' o becomes a leader in Morgan’s historical famous raiding troop and adds another sterling performance to his list of screen hits with ‘‘Morgan’s Last Raid,” which opens a three nights season at the Regent Theatre to-morrow evening. Wheeler Oakman, Hank Mann, Allan Garcia and Montague Shaw complete the cast, and Director Nick z rrinde has given the colourful story an exceptionjally fine picturisation, both photographically and dramatically. A story that is replete with thrills and action from start to finish provides the theme for Universal’s gripping melodrama “The Price of Fear” starring Bill Cody and Duane Thompson, which will also be screened.

“THE WEDDING MARCH” Erich Von Stroheim describes Mmseli, in advance notes, as “The man you love to hate.” ‘‘Tho man you’d tike to hit” would fill the bill even better, or so one feel s after watching the rather sad fate of the little peasant girl, Mitzi, who is foolish enough to fall in love with him. “Mitzi’s” interpreter is Fay Wray, and this young actress really is many of the charming things said about her. ihe farmhouse settings, apple-orchard, ducks and Danube River among which, she moves, make a dainty frame for a very simple, very well-acted and pathetic talc. ‘‘Nicki, ” the Prince, played by Erich Von Stroheim, gives no outward and visible reason why everything feminine in the piece should fall violently in love with him, but they do, and there apparently is an end to them. Nasu Pitts, of the big eyes and wistful littl e face, is Nickf’s wife Cecilia. The rest of the cast is convincing enough and the settings, in old pre-war Vienna, are splendid Ihe scene produced in technicolour are most gorgeous, and life-like, especially those depicting the worldfamous Corpus Christi procession in \ ienna, with, the Emperor Franz Josef, the nobles, the large military retinue and the ecclesiastical dignitaries in coloured costumes and trappings that burst upon the screen in great magnificence. As s production it is indeed a triumph for Paramount. The leading roles in the story are played by Fay Wray and Eric Von Stroheim and no words can describe “The Wedding March.” It is above all things, a warm, throbbing, mighty love story. It is a great spectacle, set in the gayest, most colourful, most glamorous, most heart-breaking social background the world has ever known. Vienna before the war. The gay boulevards, the drawing rooms and gardens, dashing officers of the Emperor, reckless, hard loving, hard living, pampered, fascinating young mon. Von Stroheim as Prince Nicki the ultimate personification of it all, and Fay Wray, lovely, innocent flower that blooms in a quiet corner of this brilliant setting. “The Wedding March” will be repeated again at the matinee to-day and tonight and the theatre will be too small to accommodate the crowds which will wish to see it. “Wedding March*’ shows to-day at the matinee and tonight and every day and night until Thursday. The supporting pictures preceding this picture which consists of ten reels, includes Paramount Gazette, Paramount comedy and Tarzan the Mighty. Scats for to-night should be secured early at theatre office.

OPERA HOUSE A dramatic and spectacular mystery story of international espionage conducted with all the latest scientific apparatus, entitled “The Spy,” commences its thrc c day season at the Opera House to-night. “The Spy” was directed by the great German director Fritz Lang, whose imaginations and i rcmarkabl e technical capabilities were j reflected to such a great extent in !“ Metropolis, ’ seen here a few months I ago- Of this, his latest production, a London critic states: “In ‘The Spy,’ 'Fritz Lang has demonstrated that a great producer with advanced technique, the latest scientific lightning and unusual camera devices, is abl e to make a sensational film of po; ular appeal, clever in treatment, unique in method without being a bizarre. ’ ’ The cast ha s been hailed as one of the j most remarkable ever assembled for one picture. In the leading roles are I Rudolph Klien-Rogge, Gerda Maurus 'Willy Fritsch and Lupa Pick. The picture revolves round the sinister

machinations of an uderground spy organisation, acting against the secret sei vice, in one of the worlds greatest cities. In the detection of thi s organisation, which has conducted crimes ot all kinds executed with daring and masterly cunning, No. 326 the most capable and resourceful agent of the secret service, ha s been engaged. The news speedily reached Max Haghi, head of the great bank which bore lus name, but also leader of the band of skilful desperadoes w r ho were upsetting the whole social fabric of the natiofi. The sequences which follow, culminating in the eventful discovery of the leader, only after he has committed suicide are amazing. A critic states: “There are enough exciting scenes in this film to fulfil all possible demands for thrills.”