FILMS HAVE VOICE

Evening Star, Issue 20138, 1 April 1929, Page 7

FILMS HAVE VOICE

"TALKIES” AT OCTAGON THEATRE SUCCESSFUL INITIAL PRESENTATIONS Another page in the history of motion pictures was turned on satin - day, for the figures on the silver sheet were no longer silent—they talkec, and sang, and laughed. It was an epoch ns far as Dunedin is concerned in a class of entertainment that has capturn! piotnregoers in all corners or the globe. When it was announced by the management of the Octagon Theatre that the booking was_ open for the initial screenings of talking pictures the box plans were in a short space ox time covered with blue crosses; in fact, on Saturday afternoon and evening the circle was completely booked. Both in the afternoon and in tho evening people had to he turned away long before the advertised hour for the pictures to commence was reached. It was estimated that those who could not gain admittance would easily have Idled the theatre four times over.

An air of snnprcssed excitement pervaded the auditorium as the lights dimmed and it was realised the performance was about to commence. Loyal subjects of His Majesty King George V. could not tail to be impressed with the Boxy Theatre Orchestra’s playing of ‘ God Save the Kiue, which was as impressively rendered by the American orchestra- as bv the Arpylo and Sutherland Highlanders’ Band during the Exhibition. As far as different events wont the Fox Movietone News, which opened the picture programme, was very similar to what has been seen hero many times before, but the film was doubly interesting on account of the synchronised sounds, lor instance, a snap was taken of several wine testers at work, and the audience could not only see them drinking, but could hear distinctly the smack of lips of satisfied personsi Then there was a religious gathering in the open air with a full military band playing ‘Onward, Christian Soldiers.’ The news reel switched from one scene to another, as is the case with all news films, hut. always tlfere were the lifelike sounds of whatever was Ireiug depicted. Few there arc in this town who have seen in person either Lady Heath, the famous woman aviator, or Marshal Joff'rc, but the Movietone pictures have brought them to the eyes and ears of everyone. Following a short address by the latter. Lady Heath commenced to speak on the subject of aeroplanes. Every word she uttered was as clear as if the lady had been speaking from the stage itself, and not from the screen, and the audience satin wonderment when they both saw and heard her tap the engine of her nhvie. There came next a song by Gertrude Lawrence, who proved herself to ho a young lady with a magnetic personality and the right kind of comedienne to effectively sing ‘ I Don't Know.’ Goorgo Bernard Shaw, the dramatic Benins, said when he appeared on the screen, “AH the people who come here to sec me will know mo when they see mo again.” Truer words were never spoken, for who would not reco r mL'> a<ol in the gonial and witty author? His little address was liberally saturated with witticisms, while his facial expressions were a source of delight. A new personality on the screen, “ Chic ” Pale, caused endless laughter in ‘Tiie Star Witness.’ He was a railway crossing keeper who became involved in an iiif|uiry into a train and motor smash, and was cross-questioned by a heartless lawyer who was always on the lookout, in common with most lawyers, for a slip on the part of the witness whereby he could turn the tables. But no matter how hard lie tried to trip the one he was questioning be received an answer which was as lengthy as it was unexpected. After questioning the witness as to how far he could seo at night, he thought he had him cornered when he received the reply, “Three hundred thousand miles.” Further queries showed the witness to he right, for he told the court ho could see the moon. Clever dialogue was heard throughout the picture.

The audience reacted favourably to the Fox picture, 'The Street Angel,’ an extremely interesting sentimental romance in an Italian setting. It related tho experiences of a poor Italian girl who was arrested for a venial offence she really did not commit. The girl made her escape ns she was being escorted to the workhouse, and was removed from the town by some kindhearted travelling showmen. Later tho girl, Angela, became a performer, and as such she made tho acquaintance of a gifted young artist, Gino, in rather unfavourable circumstances. She would have nothing to do with Gino, who. in his happier moments, whistled ‘ 0 Sole Miu,’ and imagine her mixed feelings when she found him a member of the (ravelling show she was associated with. However, her heart softened towards the young artist, whose love advances were irresistible. While performing, Angela met with an accident, and was taken to Naples by Gino, who worked to earn money to pay for her recovery. When Angela was herself onto more she descended to the street to buy provisions, and while there was recognised by a police officer as the runaway. The officer arrested her, but she pleaded with him to allow her to keep her freedom for just one hour, so that she might be with Gino. When that time had elapsed she let th e ' aw take its course without imparting her secret to Gino. The subsequent scenes showed Gino, vainly searching for Angola, and no longer whistling ‘ 0 Solo Mio.’ As is the way with the majority of stories, tho ending was of a happy nature. Most unusual scenery and photography, along with the clever impersonations of Janet Gaynor and Charles Farrell, placed ‘ The Street Angel ’ immediately on a plane well above the average film. ‘The Street Angel’ was not a “ talkie ” in the sense that dialogue was spoken, but synchronised with the film was a very appropriate programme of music showing what the 110 instrumentalists in the Roxy Theatre Orchestra could do. During the screening the Strolling Players were heard in a rendering of 1 Sweet Marie,’ wdiilo the theme song to the picture, ‘My Angel,’ was sung by James Melton, and later I\v the Roxy Male Chorus of forty voices.

The Dc ForeaL talking machine iu* stallation . ho op,. , <.p to its work througliout, while the reproducing apparatus, coupled to n mov-ing-coil loud speaker, the very latest in such instruments, handled the sounds exceptionally well, with a clear, deep tone. The voices were even more clear than with an expensive gramophone;, and orchestral crescendos, pianissimo passages, and diminuendos were faithfully reproduced, every instrument, whether string, brass, or woodwind, having as near its natural tone as modern science will allow. From the time the theatre was opened until the last person left the auditorium there was not a wasted moment, for the Octagon Concert Orchestra, under the baton of Monsieur De Rose, played from 7 o’clock until quarter to 8. during the five minute interval, and also during tho unavoidable pauses between tho reels in ‘ The Street Angel.’ Tho play-out march wa's

in tho hands of tho Octagon Orchestra as well. Despite the fact that a slide was thrown on tho screen asking the audience not to leave until the Roxy Chorus had sung at the close of the feature picture, several peeople rose, and noisily clattered out of the theatre, spoiling the singing for those who remained. When the lights were again turned on the huge audience showed its appreciation of the performance by loud clapping and stamping of feet. The Octagon Theatre management, as the first in the “talkie” field in Dunedin, deserves all credit, for the evidence given on Saturday showed that the speaking picture is something revolutionary that must exert a now influence in the moving picture world.