CINEMA
THE HONGKONG TELEGRAPH. FRIDAY, JUNE 23, 1933.
SHOTS
"ROME EXPRESS" THE EIPTOME OF
MODERN BRITISH SCREEN
CRAFTSMANSHIP
REFLECTIONS ON THE CINEMATIC ASPECT
OF "TELL ME TO-NIGHT”
AND
66
SEQUENCES"
blod under the direction of rail- way exports. The only "shota" takon outaldo the studios wore those employed in creating the Illusion of speed. Cameramen journeyed on the real Home Ex- press and filmed the countrysido. an it scurried past the windows of the train. The pictures wore afterwards “back-projected” in the studios on to ground glass screens, placed at an anglo, to the train "sots:" Therefore, when the cameras filmed the action in the train, they also photographed the racing landscape as a passenger
studio reconstruction of the P.L.M. terminus, the Gare de Lyon, could not of course be built to the exact. dimensions of the great Pariainn station, largo though the studios are. The missing portions were
ANOTHER ZANE GREY NOVEL ON THE SCEEN would see it from his seat. The
"POME Express" comes
to the King's Theatre on Sunday, and I can as- sure my readers, that this, the epitome of English screen craftsmanship in its present day form, is one of the most enjoyable and satis- fying films we have seen since Al Jolson inade possi- ble a new industry and left us weeping with his sloppy, but sanguine references to Sonny Boy.
Conrad
Veidt And Donald Calthrop as they appear in a scene
in "Rams Express”.
·
picture. True, the story has both point and action, but its excite ments cannot make up for the film's basic lack of inspiration and ils refusal to use anything more subtle than the manoeuvres of me- lodrama for the revelation of character.
*
model, suspended at an angle to
Sert
funnel, whletlo and the railway fines were all expressing the joyous relief of Ján, Kiopura "At last I am free from Non-stop Clara". This was some of the highest form of expressionistic cinematography I have seen for a long time, and com- pared very favourably with Lubitsch's, imaginative' work in Love Parade and Mamoulian's Love Me To-Night.
FILM REVIEW BY “CELLULOID"
YOU CAN. SEE THESE
TO-DAY.>
"Fast Workers" "Golden West" "Loose Ankles"
"Passport to Hell".
Queen's, .King's.
Star.
Majestic.
Contral. Oriental,
**Trouble": "Bad. Girl"
AND THESE ON SUNDAY.
"The Wiser Sex" „Queen's. "Rome Express" King's, "A Woman Between"
THE directorial work was always bold, but never heavy. Anatol Litwak, without losing sight of the fact that the picture was a musical romance with Jan Klopura as the contral figure, to be exploited, did Esther Ralston and Hugh Will-not lose his sense of perspective DEHIDRITESPIAN lame in a scene from "Rome Ex- and characters and situations were
to the King's on Sunday.
Central.
reproduced in a beautiful scale press the great British film coming given adequate treatment, whether strong and paves the way for the a special camera, in front of
they were the romantic sequences scenes do not take precedence and more eple incidents, but the love which, at another anglo, was a fine the sound machine to aid it. To bothween Kicpura and Magda are confined in a true perspective. quality mirror.
Some of the many, sound has only, stifled the Schneider or the more dramatic In ignoring true cinema for some- quicksilver.on the mirror was then expression of the camera and pre-incident of Kiepura singing grand what sensational handling, some
manipulation removed to an exact outline, to vented the free
the machinations of the producers, permit the studio "set" to be film which it enjoyed in pre-talkie days. Pera to free himself from a Courty Join me in rather deploring
[house. "One of the
Litwak's best but in accepting the film as it is, ed simultaneously with the reflect This is largely true when ed model in the untouched portion camera is concerned with record-achievements was
keep the one must give duo- credit to the of the mirror. The work was so ing dialogue, for the camera bas pieture free from anti-climax. actors and techntelane for the man- carefully done that sat and mirror to adapt itself to a strange type Virulent scenes with Klepura sing-ner in which they put it across."
If not purposely, the film does model matched perfectly and abso-
ing glided naturally into sequences actually, reflect in true form the lutely correctly, as to proportion
featuring Sonnie Hale and his in-thrill of the hunt. It has its fect such as music, or symbols, her romance. The smoothness of does fail to achieve utmost from the camera to-day enjoys a helpmate the film was one of its big delights, the cinematic viewpoints fr which can make it into a "thing!
to
NEVERTHELESS the journey from Paris to Rome aboard the express train which gives the film its name is packed with inci- dent and sensation. The twelve leading characters-a pair of run- away lovers, a cranky philan- throplat and his wretched little Becretary, & French police chief, star and her manager, an elderly perspective,. in the resultant plc- RUT when working with sound ef- anities or to Magda Schnelder and inspiring momenta and even if it a furtive crook, an American film Spinster, a "sporty" Englishman, and a sinister thief and his ac complice are variously involved in a mystery (of which the French police chief takes charge) centr-
ture, which reproduces all the noise, bustle and din of a great railway station.
THE
is
•
of the all-star cast.
of narrative.
*
•
of beauty". The least senantive person attending the Central Thea-
novel from the written word to
THE charm about this picture is that it has so many aven- ues of approach leaving one feel- ing that what one loses on the roundabouts one gains on the swings. If you want to get the gone to such little Imaginative pur- ing around a stolen Van Dyck acting, with few exceptions, tre this week surely could not help THE transference of n Zane Grey The opening of the film portrait. Murder is done, reputa Cedric Hardwicke, Conrad Veldt, ing expressionlatic effect of the days of sound effects a continual also on n high level, but feel and appreciate the amaz-the projected film means, in these utmost out of the swings centre posc.
promises much. The camerations are nearly ruined, and the your interest on the consummate picks out the passengers as they course of lives is changed before Calthrop all earn places at the top the singing of Jan Kiepura. This tribes of Red Indians, the thunder Eliot Makeham, and Donald photography when combined with burst of rifle shots, cat-calls from acting of the most brilliant ar-board the train boldly and re- the train reaches Rome.
the of "stars"
British solutely, and, even before
Gordon was particularly emphasised in The reconstruction of a Con-Harker, though very amusing, is his rendering of "O Sol Mio" of stampeding herds and a lot of studios have yet assembled. But guard has blown his horn and the timental train journey is, in the inclined to burlesque his part, Camera and voice combined to tell dialogue, coloured, to make it ap if you feel disposed to taking aftrain has set out on its journey form it takea even if this form and Esther Ralston's vory starry a story and the harmonious blend-Such was the general impression propriate to early 19th century. Paris to Rome, we know leaves something to be desired, and very beautiful) film star ising of the two created most plea-left with me yesterday when view from enough, thanks partly to the splendidly accomplished. Genuine felicity of Mr. Walter Forde's and spurious scenes are so can-
also 1 little outside the trug'sant sensationa. direction and partly to the intel-ningly put together that it is detect Ilgence of the casting, of the group practically impossible to of passengers with whom we are the real from the unreal. The concerned and want to know a good illusion is complete,. deal more. a which
ray
risk with the roundabouts, then close attention to Walter Forde's handling of some of the scenes will meet the need.
THERE is everywhere in this
the
Tlong and ambitious film evid- might have told us, which might
ence of careful and conscientious have been the medium for a sensi- hworkmanship, polished arid retive Interpretation of their Indivi- sourceful technique, and obvious dualities, becomes little more than expenditure of time and money, a brilliantly contrived background and the pity is that much of if his for n."crook" story about a stolen
ADDRESS QUEEN'S ROAD
WEST.
THE giant locomotive, belching Tsteam and smoke, the dining and sleeping cars, guard's van and so on, never of course, left the studios, where they were asscm-
TAIPING
THEATRE
TO-DAY ONLY
2:30 P.M., 7:30 P.M. & 9:30 P.M.
LEN MANTELL & REX STORY
present
BOOKING OFFICE
TEL.
30171.
"THE HOLLYWOOD HI-LIGHTS"
ON THE SCREEN
"THE CAT CREEPS"
A Universal Sound, Picture.
DOUBLE ATTRACTION.
Prices as Usual.
-ON THE STAGE-
(1)
THE BOULEVARDEARS:- Music, Song, Dance.
(2)
TELLMAN The Mystery, Man. (3)
DOG FOSTER The Juggling Joster.
(4)
MANTELL'S MANIKINS Famous Puppet Show. (5)
REX STORY & ROSE LEE Comicalitics.
(6)
A MINIATURE REVUE. Introducing
PEGGY CHANN
ESTHER VALEY
BETTY BENN
ISABEL OBRIEN PATSY SHANNON
Dancer.
Singor... Violinist. .Novelty Dancer, Pianist.
FINALE.
NEXT. CHANGE FROM TO-MORROW.
Another New Double Attraction.
ON THE STAGE
A NEW COMPLETE
PROGRAMME
THE HOLLYWOOD
HI-LIGHTS
ON THE SCREEN
IRON MAN
with
LEW AYRES, JEAN HARLOW A Universal Sound Picture,
ទ
John Gilbert with Habert Armitrong in a scene from the romance drama "Fast Workers” a current attraction at the Queen's Theatre.
ing the Fox saga of early American pioneer days Golden West, which started a three day run at the King's Theatre.
INFORTUNATELY
the
ono
thing which could have saved this picture from being merely "anothor Western" was completely lacking. If the director and cameraman could..have forgotten for a moment the necessity of illustrating Intensive (and ad- mittedly thrilling) fights between railroad makers and Indians, and concentrated a little more.. on giving us some of those magni- cent scenic photographs which made Tho. Covered Waggon Buch an outstanding picture, Golden West would have contained some
tremendous pace,
П
picture. In her case, at least, it A triple alliance between camera- real merit. As it is the film tears
not the artist's fault; Tho man, sound recorder and .cut-through at story makes her behave in an un-ter in two other scenes had similar treating with fine grandeur the believable way and provides her effects. The pulsating rhythm ob-hardships of those early settlers, with a manager who really belongs tained during the rain journey was yet somehow just falling to achieve
a masterpiece of technical ingenul its objective. ty. Quick cuts from cleverly ang
in farce.
T
wheels, the smoke,
TUIESE and other minor weak-rd shots of the engine to the rall
nesses Reem to be entirely due track and wheels of the train com- BUT it has the redeeming feature bined to make a veritable pootry of refusing to sacrifice Its to faulty links in the narrative of motion. One felt that the main theme for that of sex. The Coincidence is stretched to break-
the engine romanco interest of course is ing point, and the finale is a matter of convenience rather than conviction. Within a feir mo ments the characters sort out the elaborate entanglements they have; got themselves into, arriving at decisions which are not explained,
NOT since the Love Parade shat
tered all records in Hongkong, have local cinema patrons been moved to such.a unanimous pitch of enthusiasm as that which bailou Tell Me To-Night released · during the week-end and the early part of this week. And you will say, quite rightly, that we have not far to look to find a reason for this mass reaction of unalloyed delight. Appealing music, clevor actors, advanced directorial technique and superb photography. Yes, these were all the obvious essentinis. Nevertheless I felt when viewing this picture for the second timo that one could probe a little deep- er and discover a far more im- portant aspect.-
do, not mind confessing that ever since we Baw Charlió Chaplin's City Lights, I have been waiting for a production which would contributo in vindicating Chaplin's bellef in the dower of cohesive use of camera, sound and direction over dialogue. Tell Me; To-night went a long way in mak- ing that contribution. Chaplin, of course, used distorted instruments to convoy his ideas, whorens Tell Me To-Night adopted pure music. But the principle remained pretty much the same. Dialogue was cut to the minimum and replaced with a combination of music and wonder- ful camera manipulation. The ck- ect was one of sheer beauty,
ONE of the chief duties of the
cinema - čamera has always' been to create “atmosphere"." In the silent days the camora worked practically, unaided In this quest"| relying purely on its Imaginativo act-ups, 'expressive angles, and 88 sistod In some measure, by the "props" To-day, the camera has
A
thoroughly good entertainment în its superficial treatment.
ARIOT FROM START TO FINISHI
Madame Racketeer.... Back Again With a New Case of Gig gle-Water Bond. Laugh- Soup!.
A LADY'S
PROFESSION AUSON SKIPWORTH
ROLAND YOUNG SARI MARITZA
QUEEN'S
COMING SHORTLY.
KING'S THEATRE
The Only Air-Conditioned Theatre in Hongkong |
STARTS SUNDAY, 25th JUNE. BOOK EARLY.
THE BIGGEST STAR CAST
assembled in any one picture!
•
Esther Ralston · Conrad Veidt Harold Huth Joan Barry • Gordon Harker Cedric Hardwicke Hugh Williams Frank Vosper.
•Donald Calthrop
GAUMONT-BRITISH PICTURE
Directed by WALTER FORDE
JOME LYDDLE
“Brilliant film which sets up new standards. Rome Express,
out by the naw Gaumont-Beltisk Studios at Shepherd's Bush, has.
of excellance thattis a definite challenge to Hollywood!"
pictura:
fed a fresh tévét awe of the World.
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