REGENT THEATRE

Dominion, Volume 32, Issue 154, 25 March 1939, Page 16

REGENT THEATRE

We are fairly well accustomed io seeing! as in “Cavalcade” and “Disraeli,” English directors and artists making firstclass films in Hollywood from English subjects. It is rather different to find an American star and a Hollywood-trained director making an essentially English tilm iu England. Yet that is what happens in "Housewaster,” at the Regent Theatre, and it is a very good argument in favour of more international co-oper-ation in the movie industry. The American actor, Otto Kruger, has the leading role of the shrewd, liberal-minded schoolmaster, Donkin, in this lan Hay story, and it may be said of him that "he is more English than the English.” Herbert Brenon, from Hollywood, has done a fine job of directing the picture. With good writing by lan Hay as a basis, Brenon has"succeeded in producing a kindly, knowledgeable, and satisfying entertainment about public school life in England. Unskilful handling might have turned the whole thing into a farce; but Brenon has .steadfastly resisted that temptation, and so we get a comedy-drama of character and conflicting ideals that is human, intimate and understanding. Only occasionally is it rather overpoweringlv true-blue in its British sentiment. It must be admitted that “Housemaster” stretches the bounds of probability somewhat when it introduces a trio of bright young ladies into the precincts of the boys’ school; and when it determinedly twists the plot to give a happy ending. Yet. even here, there is an appearance of realism; and there is certainly more than the mere appearance of it in the fine atmosphere of the school and in the clash of principles which motivates the drama. The protagonists in this, dignified but bitter cunflict are Donkin, the senior housemaster, and Dr. Ovington, the tyrannical new headmaster, who rides roughshod over the cherished traditions of the school, thereby rousing the boys to actual revolt. The girl interlopers, who are the guests of the housemaster, play their part by egging the boys on, and so put the housemaster in a very awkward position with no alternative but to resign. However, a happy conclusion is engineered.

Kruger’s portrayal of a man facing a crisis in his career is a very clever piece of acting; but he actually takes second place to Kynaston Reeves, as the coldly calculating Head. Reeves's study of schoolmasterly complacence is perfect. There are other fine performances, Phillips Holmes being excellent as the sensitive junior master iu love with music, but forced to teach chemistry. The feminine element is well supplied by Diana Churchill, Rene Ray, and Rosamund Barnes, and all kinds of the genus “boy” add touches of humour and sentiment to the play.