LAUREL AND HARDY COMBINATION

Evening Star, Issue 22460, 3 October 1936, Page 22

LAUREL AND HARDY COMBINATION

‘ THE BOHEMIAN GIRL' SCORES AT EMPIRE When Michael William Balfe, the poetic Irishman, wrote the opera, ‘ The Bohemian Girl,’ nearly a century ago, little did he dream that it would one day be the basis of a comedy motion picture. The opus, ns he conceived it, was a dramatic and sometimes morbid story concerning the adventures of a gipsy band, interspersed with ballads noted for their pathetic sentiment. Now come Laurel and Hardy, plenipotentiaries of fun, as stars of a new and hilarious version of the noted epic, a version dedicated to joy and laughter, but nevertheless ‘ The Bohemian Girl.’ Their full-length motion picture suggested by the Balfe opera opened what should be a highly popular season at the Empire yesterday. Practically all of the never-to-be-forgotten music, both instrumental and vocal, has been retained in the film. The story differs considerably, however, to permit Laurel and Hardy to caper as is their wont, and to the great advantage of the play from an entertainment viewpoint. The lilting music of one of the most beautiful operettas, ‘ The BohcAiian Girl,’ charmed the audience last night, as it has charmed thousands upon thousands in years past. In the him version of the opera the haunting melodies of such favourites as ‘ You’ll liemember Me,’ * The Heart Bow’d Down,’ and prettiest, perhaps, of all, ‘ I Dreamt I Dwelt in Marble Halls,’ are given a perfect rendering, and intersperse the ■tale all too seldom. Attempting something of a gigantic task, Metro-Golcl-wyn-Mayer have made history with the presentation of ‘ The Bohemian Girl.’ Better known for their performances in shorter pictures, the two inimitable comedians, Laurel and Hardy, give splendid interpretations to the principal parts. One of the most pleasing features of the production is the comedy. It would be difficult to suggest any other two artists known in the modern talking films who would suit the roles , better than Laurel and Hardy. In the original stage versions of Balfe’s famous work the gay buffoons suffered under a serious handicap compared with the technical effects obtained to such a striking degree in the film. As members of a notorious gipsy band, the two comedians give performances which ■ will long be remembered. With pantomime and a seemingly endless flow of new “gags” they carry the story through with a swing which brings the end all too soon. The charm of the picture is derived largely from the artistic performances of those in the more serious roles. The appeal of a child actress has seldom been more strikingly revealed than in the portrayal of the diminutive Darla Hood, who is seen as a child. Princess Arline. Princess Arh’ne grown to maturity under the guidance of the roving gipsies is no less favourably portrayed by Jacqueline Wells. With beautiful features and a bewitching smile, which plays on her lips as she sings a selection of the opera's most popular songs, she holds the audience in an entrancing silence. Her songs last night wore greeted with applause, a tribute as sincere as it is rare nowadays. Others who contribute largely to the success of the picture are Antonio Moreno, Mae Busch. James Finlaysou, and William P. Carlctou. Capping off this brilliant picture is an array of supports that constitute an entertainment in themselves. In view of the Government’s attempts to curb the activities of the “hit-and-run” motorist, a film dealing with the incidence of this criminal practice is of particular interest to the motoring and the general public alike. ‘ Basketball Technique,’ another outstanding short production, deals with this celebrated American summer pastime. The commentary is by Pete Smith, whose witty remarks acid vastly to the film’s appeal. One of those charming Fitzgerald coloured travel pictures, entitled ‘ Japan in Cherry Blossom Time,’ is a masterpiece of colour photography, and completes a commanding supporting bill.