MAJESTIC THEATRE

Wanganui Chronicle, Volume 77, Issue 257, 30 October 1934, Page 7

MAJESTIC THEATRE

“THE SONG OF THE PLOUGH.” The quiet beauty of the English countryside, and what remains of the old tradition of village life, have rarely been better shown than in “The Song of the Plough,” which concludes its season at the Majestic Theatre tonight. The story is really unimportant in the film, which is chiefly interesting as an admirable English example bf the documentary film in which the Russians have held the lead. The sweep of downs, the moving sky, the lowlands patterned with hedges, the sheep, cattle and horses, these are the actors in the film as. much as the men and women of the village. This use of scenery is new, but it has not often been done so well in English films, and • to those who have found many scenics merely boring, “The Song of the Plough” will be a revelation. The unity of effect achieved is the outcome of unusually skilful photography and very careful selection. John Freeland (Stewart Rome), the centra character, is one of the best types of open-air Englishmen, quiet and unassuming. His ] struggle to pay the expenses of the farm, and notably three years’ overdue tithe rent brings him into conflict with the objectionable Joe Saxby (Al-

lan Jeayes) and thereafter the story is mainly about the sheep-dog trials at the annual show, which are won by his dog, in spite of attempts at interference by Saxby. The skill of good sheep dgs is admirably shown in the dog trials. To all who have seen such trials at agricultural and pastoral shows in Wanganui—dn which they are always one of the most attractive features—these scenes are exceptionally interesting. Of the other characters the young squire (Jack Livesey) is a particularly good type, and his city friend (Kenneth Kore) provides a great deal of amusement by his ignorance of country ways. A scene at an inn provides an opportunity to present a multitude of true country people, and for the singing of a number of traditional songs. Here and in many of the scenes showing Freeland’?, relation to the men employed on his farm, there is a great deal of quiet humour. “The Witching Hour.” Judith Allen plays her fifth leading role for Paramount in “The Witching Hour,” which comes to-morrow to the Majestic Theatre, and in which she is featured with Sir Guy Standing, John Halliday, Tom Brown, Gertrude i Michael and William Frawley. Ever i since she was a •child, Miss Allen has 1 had the ambition to act, and the courage to work for her desired goal. Parental objections first stood in the way, but these were overcome. She left high school to accept a stock engagement in a small New England town and, although one stock company job followed another, she tired of this life and set out to find herself a job on I Broadway. It was at that moment ! that Paramount discovered her and turned her ambitions from the stage to the screen. In “The Witching Hour,” Miss Allen has the most dramatic role of her startling screen career, as the sweetheart of Tom Brown and daughter of John Halliday. The , story is built around the union between a romance of the past and a ro- ' mance of the present. Brown, about to announce his engagement to Miss Alien, is brought under an hypnotic spell and is led to commit a murder. : How his grandmother’s long-dead romance Comes to life to rescue him from , the consequences of his unwilling deed • is the subject of the tender and unusual plot. “The Witching Hour” was directed by Henry Hathaway.