PLAZA THEATRE

Wanganui Chronicle, Volume 77, Issue 151, 28 June 1934, Page 10

PLAZA THEATRE

‘ ■ THE ONLY GIRL ’ ’ A romance of the Second Empire, when the Empress Eugenie was young. Such is the period of the story of 44 The Only Girl,” a Gaumont-British picture now showing at the Plaza Theatre. The atmosphere of romance and intrigue in the gay court gives colour and charm to the Cinderella-like story, which is told sometimes in spoken dialogue, and sometimes in song in the manner of operetta. Spacious ornate apartments, beautiful frocking and handsome uniforms are features of the picture. The plot concerns a missing garter, “borrowed’’ from the Empress by her hairdresser, Juliette (Lilian Harvey) who loses it. The garter is found by an attractive duke, who is injured in the hunting field and, supposed to be dying, is taken to a military barracks. To him, lying there, with bandaged eyes and terribly weak, Juliette is taken in mistake for another visitor. He| prevails upon her to sing. Pitying him, she sings a little love song. Unexpectedly the duke soon recovers from his injuries. Charmed by rhe song, he sets out to find the singer. By a piquant chain of circumstances he comes to believe that his visitor was none other than the Empress herself, but. later, he stumbles on the happier truth. Lilian Harvey’s delightful work as Juliette was a great treat. Admirably suited to Cinderella-like roles, she struck perfectly a note of fantasy and wistfulness, blending genuine characterisation and elfin charm- Her performance throughout was beautifully balanced and her charming rendition of tuneful songs further enhanced the attractiveness of the picture. Charles Boyer as the duke was a manly figure and proved himself to be a very attractive lover—even the Empress forgave so fine a man his presumption that it was she who had sung to him* Ernest Thesiger, grandoise court chamberlain, in a dazzling uniform, struts and preens with great effect. He has a little 14 signature tune,” which is synchronised with many of his sweeping gestures. It is a novel and amusing feature of his part. Maurice Evan s does fine work as Juliette’s other admirer; the Empress is in the capable hands of Mady Christians and Huntley Wright gives a clever little cameo of a peppery military doctor. Others in the highly competent cast were O. B. Clarence, Reg. Smith. Ruth Maitland

Friedel Schuster and Julius Kalkensteiu. ‘ The Lost Patrol.” A new kind of bravery la glorified in ‘‘The Lost Patrol,” featuring Victor McLaglen, Boris Karloff, Wallace Ford, Reginald Denny, and others ot an imposing cast, commencing at the Plaza Theatre on Saturday. It is the sort of gallantry which can wait unflinchingly for a lurking death which strikes suddenly and without warning. The story of 4 ‘The Lost Patrol” centres about eleven soldiers who make a last stand in an oasis of the Mesopotamia desert, after their officer has been killed by Arabs. Unaware of their exact location, not knowing where their brigade may be, hopeless of getting any aid, they wait for death, but repulse it with a hail of lead whenever me besieging Arabs attack openly. One soldier goes made. Another is killed at his sentry post—and another ana another. The grim-faced sergeant, however, remains the soldier, iron willed, steel nerved, unconquered. McLaglen is seen as this heroic figure, and Karloff plays an intensely dramatic role as a religious zealot. The screen play is based upon Philip MacDonald’s novel, ‘‘Patrol.’*