TENDER AND MOVING STORY

Evening Star, Issue 21742, 9 June 1934, Page 11

TENDER AND MOVING STORY

1 CRADLE SONG 1 AT EMPIRE Dorothea Wreck, the' screen personality, who created a sensation overseas in the recent ‘ Maedchen in Unih/rni, - which has not been presented in New - Zealand, scores a definite triumph _ in > Cradle Song,’ the principal attraction on the excellent programme that had its initial screenings at the Empire Theatre yesterday. Audiences cannot but be impressed with the beauty and . sincerity of this picture. In a role bristling with difficulties, Dorothea Wieck gives a convincing and moving performance with . . an art that conceals its own cleverness. ’ , Although based on the rather hack- . ■ neyed theme of mother love, the production does not lapse into sentimentality, due to the . sympathetic and exSerienced direction of Mitchell Leisen. to has carefully preserved the spirit of Martinez Sierras, play, of which * Cradle Song ’ is the film version. The story is unfolded with an unusual dignity and charm, and through it all there dominates the personality of Dorothea Wieck. She is of Swiss birth, a vivid, radiant • brunette, who has grown up under the influence of art, and her name (pronounced “ Veek ”) , was known to audiences in many eoun-

tries before she was cast in her present role. The more emotional scenes she carries •off in an effortless manner, yet her acting is vibrant. From the time she tenderly farewells the family she has mothered from babyhood to enter a Spanish convent, until the poignant final scenes of the production, the actress makes a dignified, unobtrusive’ conquest of the audience. Apart’ from the narrative interest, ‘ Cradle Song ’ affords a splendid study of the psychology of mother love. When the girl Joanna (Dorothy Wieck) enters* the convent to renounce the world, sho finds the peace and calm of a devotional life difficult to attain when she is strongly drawn to the world by the cries of children playing outside the convent walls. In a scene of exquisitely restrained acting, the battle between the woman and the nun is brilliantly portrayed. Happiness conics to her when a little waif, a baby girl, is left on the steps of tho convent, and is sheltered by the nuns. The girl grows to maturity in the calm of the nunnery, mothered by Joanna, who lavishes on her all the love repressed by the strict laws of convent life. A strongly dramatic climax is reached when the girl falls in love with a young engineer, and wif.es to marry him and leave the convent., As the nun, torn between the desire to see the girl really happy, and the desire to see her enter the nunnery, Dorothea Wieck acts with unusual brilliancy. She is convincing without effort. Her performance is enhanced by tho strength of the supporting players. A thoroughly satisfying performance comes from Sir Guy Standing as the doctor to the convent, with a warm heart and a tolerant understanding of human nature. He wins the sympathy of the audience, from the start. Then .there is Louise Dresser in one of her best roles as Hie prioress of the convent. She tempers religion with a philosophical humour which is delightful. The romantic interest is provided by charming Evelyn Venables and Kent Taylor. Artistic photography is a feature of ‘Cradle Song,’ and some beautiful convent interiors have been captured by the cam'era. The supporting programme ,is uniformly excellent, and as usual the playing of Miss Iris Mason .at the organ delighted the audience, Miss Mason playing selections from ‘ Sally,’ and as an entr’acte'playing ‘The Rosary.’ The short features arc most entertaining, including a Paramount Ga.zette, an interesting sportlight entitled ‘ Kennel Kings,’ a Mickey Mouse cartoon, and- an unusual novelty entitled ‘Please,’ featuring Bing Crosby, the idol of American radio fans. The programme will be shown to-night and during the week.