1933-04-07 — Page 19

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THE HONGKONG TELEGRAPH. FRIDAY, APRIL 7, 1933.

CINEMA "SHOTS” AND “SEQUENCES”

(By" "Celluloid"

PERHAPS it may be the effect

of the depression on the great stars of 'Hollywood, or it may be just a whim, that John Barrymore, a few year's back one of the most reserved players in screenland, is now appearing in films with the regularity of an Edgar Wallace novel.

Times must have changed, for this scion of the "Royal Family" was once in the happy position of being able to act the hardy annual And appear in such acclaimed classics as Sea Beast, Delightful Rogue and Sherlock Holmes. But ever since his return to the talking films in Arsene Lupin, John secmis to have entered into a competition || with brother Lionel as regards film production, playing all kinds of roles from handsome, lovers to bewhiskered eccentrics.

JOHN BARRYMORE and Billie Burke in a tensely “deguatie scene fram "A Bill of Divorcement," R&O-Radio Picture.

|_||

A.

Billie Burke, a popular star a decade or so, ago, has retained acting ability and appears as the

wife and mother.

And so it is that this breek finds Barrymore films at three Hongkong Following active discussion in theatres, two of them. being Arst various quarters at the beginning! releases, A Bill of Divorcement at of this year, it is now possible to the Central, and Svengali at the discern certain definite trends in Queen's. Both, incidentally, are Soviet sound film production- screen versions of much played and trends which define the schools of thought into which Soviet dir- DRACƏRAZİZO) 10ectors" are now "grouping them- selves. These trends, three in

CINEMA PROGRAMME | number, might be defined as the

TO-DAY.

Queen's: "Svengali,”

King's "The Sign of Faur." Central: "A Bill of 'Divorce ment."

Majestic: State's 'Attorney." Star: "Behind the Mask." World: "Lovers Courageous. Oriental: "Body and Sul."

King's:

ON SUNDAY.

Street Scene,"

discussed stage, successes.

4.

cinematic, the theatrical and the literary.

Producer Pudovkin, who is tak ing infinite pains and care with the film Deserier, on which he has already spent several months. is the leader of a movement to bring to the sound-ülm the rapid. staccato tempo characteristic of the cutting of Soviet silent films. To the group represented by Pudorkin the sound-film should be what the old silent film was plus sound.

the other hand, has dealt with a' far wider range of themes, and in addition has probed beneath the surface into the minds and hearts of the characters.

·T.

BARRYMORE !

IS hard to realise that this grotesque face is that of the acreen's greatest lover, John Barry- more. It is his make-up for "STOR- gali," now at the Queen's.

A second group, which includes and Queen's "American Madness."the producers Tutkevich Star: "Private Lives."

Ermler, believes that the future of Majestic: "The Big Broadcast." the sound-film lies in the skilful World: "Fast Life.”

séreening of theatrical auccessos, profiting by the smoothing and USER CONTESTATUS:LIZATION:UBA

refining process which the ma- Lerial has undergone during its numerous stage presentations, and The film at the Queen's was by the collective artistry of the Barrymore's first attempt to give | olayers who have so often appear up romantic roles and portrayed ensemble in the piece. "To this definite characterisations. For-vroup the sound-film should be merly he had been exploited as the what stage play is, plus the mo- screen's greatest lover, with the bility and scope of the cinema." possible exception of his silent- flm of Jekyll and Hyde. Barry- more makes a good job of playing

The third group, at the head of the title role made so famous on the which stand Eisenstein. and stage by du Maurier, but whether Shklovski, favour a radically new the public will accept the Great orm which shall be neither the John in such rales is another ques-old einenn nor the old theatre, The following-quotations on the tion. Admittedly he has outgrown but which shall partake of the London Stock Exchange have been the Romeo parts and character essential qualities of literary form. received by Messrs. Swan, Culbertson reles come as easy to him ps to Eisenstein preposes to use less and Fritz in conjunction with Router.

dialogue, and in its place to use Oils and Kafirs were very

brother Lionel,

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In the Central film Barrymore what he terms "inner monologue" yesterday. Otherwise the market was gives a masterful performance as a sort of author's commentary the victim of insanity brought an which will tell us what is passing by shell-shock, who is theoretical- through the minds of the chare ly cured and returns to his wife acters, discuss the why and the 4 and home bringing unhappiness wherefore of what is taking place with him. He treads his narrow on the screen, and play "Greek path convincingly during the en- Chorus" generally. tire picture as if realizing that) Shklovski goes even further and the slightest deviation would calls for a purely literary style destroy, the delicate mental bal-of cinema construction. painting ance of the story.

out that sound brings to the screen Perhaps more striking although words-the essential tool of the no more capable, is the perform-terary worker and that it is s ance of the talented young stareherefore now possible to do in actress, Katharine Hepburn, who the cinemin all those things which makes her initial screen appear an author would do in a novel. ance in A B of Divorcement,' 'She As Shklovski points out, films has a fineness and pollsh of ad-of the vast have almost entirely ing which lend themselves to the confined themselves to simple. difficult characterization. · Barbiective themes, dealing with performance is subjectively under the purely outward

of standing, something essential elementary tales of love, horror

1913 and the like. Great literature, on ls objective comprehension.

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PLAYING opposite John Barrymore in "Svengali," in Marian Marak,

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