MAJESTIC THEATRE

Wanganui Chronicle, Volume 80, Issue 135, 9 June 1937, Page 9

MAJESTIC THEATRE

“HOSE MARIE." I Rich in music, .singing and scenic I j beauty, the Mctro-Goldwyn-Mayer I j film version of the popular operetta I ; “Rose Marie” is delighting large audi. ! cnees at the Majestic Theatre. WZh I I its melodious score, beautiful settings ■ : and a talented cast, the picture should i i prove as successful as any shown in j (Auckland this year. Jeanette Macj Donald and Nelson Eddy, who take the i leading roles, are as delightful as they | were in the film of Victor Herbert’s i “Naughty Marietta,” one of the most i popular musical pictures ever • screened. Wanganui audiences would I • have been well pleased to hear them i singing merely the original score, .which includes “The Indian Love iCall,” “Rose Marie, I Love You,” “Song of the Mounlies” and several other items. But the picture also presents selections from the operas “Romeo and Juliet’’ and “La Tosca.” The result is a musical feast, set against magnificent backgrounds of mountain trails, shimmering lakes and cloud-flecked skies. Miss MacDonald’s earlier scenes display her as a temperamental prima donna. Her artificial manners and her sudden reversions from public amiability to private storms of rage demand an acute sense of comedy in which she is never lacking. Besides excepts from “Romeo and Juliet,” she sings a gay number called “Pardon Me. Madam." Then, learning that her brother (James Stewart) has escaped from a Canadian penitentiary and is hiding, wounded, in northern Canada, she attempts to find him. During her journey she encounters Sergeant Bruce (Nelson Eddy) and is compelled to accept his escort. The rest of the story tells how the good-humoured mounted policeman tames her tantrums and wins her affection. Both in operatic and popular numbers Miss MacDonald sings with rousing effect. The fine presence, first-class acting and resonant singing of Nelson Eddy confirm the splendid impression he made in “Naughty Marietta.” Minor roles are well handled by Reginald Owen, James Stewart and George Regas. The supporting items include “Cinema Circus,” a musical revue in colour, and a Pete Smith oddity “Bar-tac’s Night Out.”