PADEREWSKI PLAYS

Press, Volume LXXIV, Issue 22514, 23 September 1938, Page 7

PADEREWSKI PLAYS

“Moonlight Sonata” and “Street Singer’s Return”

Brilliant performers from, other fields of entertainment are not always worth the trouble.they cost the cinema in the laborious concoction of stories which suit their specialised talents, but have little or no connexion with film entertainment.

However, Lothar Mendes, who persuaded Ignace Paderewski to appear In the film “Moonlight Sonata,” would have had no fears on this score. And so, at last the public will have an opportunity to , see and hear the brilliant pianist on the screen at the Plaza Theatre shortly. Another interesting, figure in this absorbing picture is the veteran stage actress Marie Tempest, who, at the age of 72 years, makes her debut in a talking film. In the role of an hospitable Swedish Baroness her personality, with its provocative combination of dignity and mischief, makes a most vivid impression. • Marie Tempest’s performance in “Moonlight Sonata” is a clear proof that really first-rate acting can be transferred from theatre to screen without any major operations. It is to be hoped that her success will reconcile her to the cinema, for, since she can put it • over so well, her personality is, the kind that is an asset to any film. The supoorting feature will be The Street Singer’s Return,”' a sparkling muscial comedy romance, which brings

together two famous stars of the entertainment world. Arthur Tracy is popularly known to millions, through his gramophone' recordings, as “The Street Singer, and his first film production “Street-Sing-er’s Serenade,” one of the most successful pictures of 1936, also established him among the foremost stars of the screen. Tracy’s delightful singing_of many song favourites including The Whistling Waltz” in ‘‘Street Singer s Serenade” are remembered by countless picture patrons. . Tracy’s comedy partner in The Street Singer’s Return” is Arthur Riscoe, who also occupies a prominent place, in the affections of entertainment lovers the world over. He is probably remembered best for his riotously funny performances in such films as For the Love, of Mike,” with Bobby Howes, and “Public Nuisance No. 1,” in which he starred with Frances Day. In “The Street Singer’s Serenade, Arthur Riscoe is seen as a street corner conjurer, with crooked tendencies and around him revolves most of the film’s laughs. He wears a badly battered bowler, a high celluloid collar with a ridiculous little bow-tie, and an ill-fitting check suit. This is n change from Riscoe’s usual make-up, for he is generally regarded as one of the best-dressed comedians on the stage or screen, and his evening clothes or lounge suits are usually faultless and bear the unmistakeable stamp of Saville Row.