MAJESTIC THEATRE

Wanganui Chronicle, Volume 77, Issue 154, 2 July 1934, Page 9

MAJESTIC THEATRE

“CATHERINE THE GREAT.” If ever a screen play were dominated by a brilliant artist it is “Catherine the Great.” now showing at the Majestic Theatre. Elizabeth Bergner is magnificent; she charmed with the sympathy of her acting; and none except the most detached could be anything but thrilled with the progress of “little Catherine” to her exalted position. The production has that same polish that distinguished “The Private Life of Henry VIII,” for the same produces s are responsible. Russia is shown toward the close of the reign of the Empress Elizabeth, through the short span when her nephew Peter was mon arch, and in the stirring times of the rebellion that put Catherine on the throne. The ceremonial of the Russian court is seen in all its splendour, for the greater part of the action takes place in the palace. With such a topic, the outline is necessarily sketchy, but the painstaking attention to strut tural detail is wonderful. Tt is a mascrpicce of photography and the British studios have given the lead. There is an occasional fleeting resemblance between Elizabeth Bergner and Marlene Dietrich, but it is only fleet ing. She has the distinction of one who should become a really great star Douglas Fairbanks, jun., who has the role of the Grand Duke Peter, has a fairly difficult part to play, but he carries it through wibh his customary facility. Flora Robson gives an excellent character study as the Empress Elizabeth, and Sir Gerald du Maurier is a perfect valet. The story traces Catherine’s summons to the Russian court by the Empress Elizabeth; her marriage to the unbalanced Peter, his infidelities; his cruelties when he becomes Tsar, and the revolution when Catherine is made ruler and Peter is killed. As a subject for the producer’s canvas, these stirring times in Russian history present admirable material, not only on account of their powerful story value, but also on account of the glamour that surrounded the Imperial Court at its gayest and most dissolute period. Korda has translated all this to the film in vivid and realistic manner, backed by acting as fine as the screen has ever shown. Good “shorts” complete an excellent programme.