1933-08-01 — Page 5

PERFECT SOUND and COMFORT.

QUEEN'S

AIR CONDITIONED THEATRE

QUALITY IN PICTURES..

We are not withholding pictures

during the summer!

GEMS FOR AUGUST,

"WOMAN ACCUSED"

with

NANCY CARROLL-CARY GRANT

JOHN BARRYMORE

Reunion Vienna

WITH DIANA WYNYARDA

"DEVIL IS DRIVING".

with

EDMUND LOWE—WYNNE GIBSON

norma

Shearer

Gostyn Mayer

ต

in a romance that stirs moon: light memories

Through

JAJDLIC

MARCH - HOWARD

JOAN CRAWFORD CART COOPER

TODAY WE LIVE

CHARMING MUSICAL ROMANCE

"TO-NIGHT IS OURS"

with

CLAUDETTE COLBERT -

FREDERIC MARCH-ALISON SKIPWORTH

HELEN HAYES CLARK GABLE

THE

HITE SISTER

To Chill Your Vory Blood! "TERROR ABROAD"

with

CHARLIE RUGGLES

»NEIL HAMILTON-VERREE TEASDALE

THE HONGKONG TELEGRAPH. TUESDAY, AUGUST 1, 1933.

CINEMA "SHOTS" AND "SEQUENCES”

SUPREMACY

OF BRITISH COMEDIES

LOVE ON WHEELS A MASTERPIECE

THE VALUE OF COOPERATION

WHEN DRAMA IS REAL

(BY “CELLULOID")

TOR the. past two or three

FOR

Eliasa Landi. Ernest Truer and Marjorie Rambeau ne they appear together in "The Warrior's Husband" a coming attraction at the King's

Theatre..

tarazoeticamententzia |PHERE is nothing like extracts

YOU CAN SEE THESE TO-DAY.

King: "Love on Wheels" Queen's "Song of the Eagle" Central:The Unknown Singer** Majestic:-"70,000 Witnesses” Oriental:- Devil, with Woman" Star:"lon About Town" Warl:"Reaching for the Moon"

years British-film compan- les have been building up a re- putation for dispensing comedy of a quality second to none. The reputation has been acquired through the medium of pictures of the type of Sunshine Susic, The Love Race, the Aldwych; farcies and comedies, Canaries Sometimes Sing, Thark Just My Luck, etc., etc. Up for 't Coop, Splinters In The Navy, and a host of others. Each has bor- rowed something from the other in cinematic technique, endowing mere stage plays with the pecu- liar qualities of the camera, the expression of sound music and the art of the scissors. The final result is to be seen at the King's Theatre to-day, where Love On Wheels, featuring Jack Hulbert and Gordon Hark- er, is enjoying a highly success-mata ful run.

THIS

WEDNESDAY.

Queen's:The Woman Accused”. Centrh}:"Goodnight Vienna"

THURSDAY,

་་

King's Wild Girl" Majestic: "Secrets of the French

Police"

from real Ufc for screen drama. Story-book drama hardly ever grets beyond melo-drama. The melo-drama which "Sanper". No Ingatly describes as being sonic

thing which you. are perfectly prepared to believe could happen, but which never would. It is the makes the picture so powerful and reailty of Song of the Eagle which

impressive. Just flashes of what have now become historical in- cidents in the life of America, when handlod ciclently by Hollywood, become infused with a drama which no newspaper description or orator could ever give them.

I found Song of the Eagle more fascinating as a searching study of America in a political, economic, caught in all sorts of positions by than its advertised appeal of being industrial and social cataclysm,

HIS plcture is undeniably

the the focus of the camera, whilst the "tender take of two lovera acme of good cinema blended the cutter adds beauty to the shots groping for happiness." In its final with pantomime. And indeed the with some smart scissor work. analysis the picture attempts to mixing of these two elements is no Possibly the best example of this offer suggestions for the wiping easy sit-back-in-your-armchair job, cohesive work between actors and out of the beer racketeer of 1933 Fantomime and tomfoolery does not technicians is to be seen in the by the law abiding brewers selling lend itself to the finer points of drunk scenes. The whole thing legalised 3.2. And the solution cinema as does drama, satire or marvellously acted by fulbert offered makes a most significant even melo-drama. The predominand Harker, and brilliantly treated gesture, equivalent to saying "well, ant problem before the director is and dressed up by their assistants. the Arm of the Law has failed, now the use of dialogue arid action..

let the public take a hand. So we

ཐ་

The excessive use of one will pro- FROM the technical viewpoint find the police unofficially condoning bably rulu the other. The camera- I felt there were only one.oran attack on the racketeers by an mun has to fasten on satirical two flaws and those confined army of hired unemployed, but Rymbols, the musical arranger to entirely to cutting. The sequence refusing to take part in the affair score appropriately, and theof the chase In the departmental themselves. cutter to see that the sequences store could have been vastly, re-i

W

4

do not develop from the sublimely duced and would have lost not BUT it is the earlier scenes ridiculous to the bless my-soul-how-hing. I imagine Saville tried to which are the most impres- interminable.

capture some of the art infus-sive. The panorama of big eventa ed into રી similar Acene by which havi Alled the pages of WELL, for the most part, Victor Rene Clair, but the camera does American history since 1916. The Saville and his colleagues have not assist him to the same extent, prohibition of beer, the war, the kucceeded accomplishing these and there is too much repetition. | return of the soldiers to find the necessities and have made Love on Gordon Harker is amusing. but public houses closed and the Wheels a credit to themselves and I tired of seeing Jack Hulbert and | Elghteenth Amendment in force. to the English film industry. One Leonora Corbett running in op- The rise of the gangsters and of the most pleasing improvements posite directions to each racketeers, the election of Pre- in homeside productions is the care other.

sident Roosevelt and the passing being shown In the titles. First

of the Bear Bill. These are pic- impressions are reputed to be best, HE acting is splendid. Jack torial expressions of facts. They and certainly it strikes true when Hulbert and Gordon Harker jare vividy presented by means of associated with film. Ernst

made an ideal combination. Har-highly advanced cinematic craft. Lubitsch has made himself celebrat-ker has proved himself Indispen- The individual actors fade into ed on the strength of his masterlysible to the light comedy screen insignificance beside the drama of titling and opening sequences". To throw the audience immediate-and is without equal in his diver the incidents. It is brilliantly ly into the atmosphere of the picity of protrayals. Jack Hulbert's ture and its story is- Lubitsch's dancing la always a sheer jay, and first thought. It is a pleasure to although he may not appeal to see that Victor Saville is not afraid funny as in Jack's The Boy, this and the purely personal element one as being quile solotousty to follow such a lend.

may largely be accounted for by enters the film. Where before the the presence of Gordon Harker, pieturo was national in character! LOVE On Wheels

laughs it becomes individual. The opening scenes which compare who stenis a lot of the

schemings of Charles Bickford as favourably with anything seen on

originally intended for Hulbért.

the gangster leader, the struggle the modern screen. Here Green- baum, the photographer, has work supporting caat maintains for honest existence by Jean ed with consummate skilf, obtaining

the standard of the principals. Hersholt, Richard Arlen, Mary Brian and Louise Dreaaur, the sharp angles, clever lighting effects Edmund Gwenn, now celebrated and real atmosphere. The theme In Hongkong for his delineation murder of Jean Hersholt and the is the awakening of n now day of the Mayor in Tell Me To-Night

subsequent revenge obtained by

bonsts

some

nro

111-

Mamoulian trented it in his classic adds to his reputation and Love Me To-Night, when he de- Leonora Corbett la perfectly pleted the birth of a morn in Paris, charming, Love on Wheels is Saville deca not obtain the pulsating doubtedly the film of the week. rhythm of Mamoulian, though this is due to the fact that he gives the subject entirely different treat- ment. Its effect, however, is equally

as pleasing. There quick cuts from object to object, ench having R delightfully whimsical relationship, such as the successive shots of the wife taking reducing treatment, the bry clean- Ing his teeth, the air being pumped Into the tyre of the motor bus, and the corpulent old gentleman por forming his breathing exercisca. It is not a deep complicated study in expressionism, but it forms a perfect introduction to the contral characters and to the story,

*

WITH the plot naturally as thin as water, the appeal of tho film automatically depends on the ability of the playera and tho dovelopment of detalls by tl:o technician, Tho harmonious working of those twp sections plays a leading part in tho auc- ceas of the picture. Hulbert for instance.emilan Jils.broadest smilo and the photographer (mproves upon it with a clover close "Up." When Hulbert dankos his festiure

-Glamorous Joan Crawford-ss sha *ppears" in "Hala", a "brilliant ple-

Kura?/Wstuk?- enïfenturaï Walter.

portrayed.

FTER this we have to get down

Louise Dresser. These become the essentials of the picture, and one

somehow fecin that the dynamic appeal of the film has been lost. Nevertheless full marks must be given to the players for their able work. There le pot a single weak- ness in the cnet, whilst the tech- nical side .always keeps up Its amazingly efficient standard. Song of the Eagle is in many ro- apecta an extremely good picturo. Its defects are slight and it is a splendid example of American polish.

*

HERBERT Wilcox has discovered

many other. stars, but none having a potential brighter future than Anna Noagle, who is to baj seen at the Central Thostro to-mor- row in The Little Domozel, and who ls appearing personally in one of the most attractive prologues yet davined for any talking picture. The Idea of this prologue is to li lostrato the history of The Littla Damorel from its presentation an a play at Wyndham's Theatre 'in 1909, and its exhibition as a silent film at Gatti's Music Hall In 1915 to its appearance as a talking ple ture at the Plaza in 1908. in 1988,

ANNA Neagle played in the great

ly successful film, Good Night! *GN (Contimied (on:Pága:P.Jako

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