the majestic theatre

Wanganui Chronicle, Volume 74, Issue 139, 15 June 1931, Page 11

the majestic theatre

••WITHIN THE LAW” In ‘‘Within the Law,” Mctro-Gold- ) wyn-Maycr’s talkie version of Bayard •„ Veiller’s stage success of the same i name, which is now at the Majestic - Theatre. Joan Crawford takes her - place among the screen's foremost dra--51 matic stars. . | Her portrayal of Mary Turner, the shop girl sent to prison although inno- - cent, is done with a depth and underL‘ standing that comes as a revelation to i those who have had every confidence ' in the young actress. ’Her perform- - ance is a flawless one and is destined to rank with that of Jane Cowl who created the role on the stage eighteen s years ago. 5 From the opening scene in the courti room to the final fadcout, the picture t never loses its momentum, piling up L dramatic situations in so rapid succesi sion that one is astonished at the adroitness with which Sam Wood, the director, avoided a tendency toward i anti-climaxes. Suspense is strained to - the utmost and realism is carried so far as to actuallv mako Miss Crawford look dirty and ill-kempt in certain scenes, a rare sacrifice on the part of an attractive screen personage. Miss Crawford is to be congratulated for her willingness to check her vanity in these scenes. Robert Armstrong in the role of Joe Garson, the crook upon whom Mary Turner relies to avenge herself upon an unjust society, holds the honours in the supporting cast, wh’le Marie Pre- ’ vost as Aggie, another member of the underworld gang. comes him a close second for acting merit. Attention is also drawn to Kent Douglass, a newcomer to the screen, who plays onpo 1 site the star in the romantic lead. Much promise is seen in this new juvenile who not only has good looks to his credit, but an abundant supply of acting ability. Others who are exceptionally well cast include John Miljan as the suave police inspector, Purnell Pratt, Hale Hamilton. Robert Emmett O’Connor, Tyrell Davis, William Bakcj well. Gwen Lee and Isabel Withers. THE GRAND “BLIND W T VES“ Lively, sparkling, wide open blue eyes —opened wide in amazement —quick, stacatto, decisive speech, clear-cut, and alive! Such is the first impression one gains of Genevieve Tobin, comely stage star who has met Hollywood and taken it by storm in her first two Universal pictures “A Lady Surrenders” and “Blind Wives,” the latter now ; showing at the Grand Theatre. Miss Tobin has tiny hands, perfectly moulded. “They’re the feature I dislike most about myself. I always have to have my gloves made to order or buy children’s sizes,” she states ruefully. Blonde hair, gracefully waved, silky and glistening. A delightful English accent of which one is not conscious after the first dozen words —a determined chin and snapping eyes—a complexion which is flawless and a constant joy to the cameraman. Such a description proves a fair appraisal of Miss Tobin. i Her mother has been her constant companion on her invasion of London, where she played the lead in “The I Trial of Mary Dugan,” in New York | during the runs of “Polly Preferred,” i “Fifty Million Frenchmen” and other | hits, and now for a year in Hollywood, where Mother Tobin keeps house for her and manages her business affairs. Very simple and inauspicious is the private life of Miss Tobin. She lunches quietly in her dressing room on food which has been prepared at home md brought to the studio by her mother.