NEW BRITISH FILM

Hokitika Guardian, 24 January 1931, Page 6

NEW BRITISH FILM

FAN KIEPURA CHIEF PLAYED

LONDON, December 11

It is reported in advance that the “City of Song." a talking picture produced by the Sterling Film Company at Wembley, is the most ambitious attempt yet made in British film production. It is to be shown privately during the first week in danliarv.

Mr Miles Mallcson, the famous author and playwright, wrote the dialogue, and the chief character is dan Kie. pura, who is said to be the successor of Caruso, and the possessor ol “the wonder voice of the century.” He has “shown histrionic gilts ol the highest order-—a Linocrd and accomplished actor who plays the role of the handsome young lover with an intense naturalness and attractiveness that place him amongst the fascinating personalities of the screen. The magic of his speech and acting is no less thrilling than the golden notes ol hits lyrical voice.” Betty Stock field and Hugh Wakefield are the other principal actors.

Jan Kiepura’s career hears a remorablo similarity to that oi Caruso. Six years ago he was a struggling law student in Warsaw. One ol his tutors introduced him to a professor of singing who discovered that his voice wais extraordinary. After only two lessons Kiepura was offered a leading part at the Warsaw Opera House, and in two years he had sung in Berlin, Budapest, Vienna, and Milan, and had reached tho distinction of being chosen to sing the part of Kalal in Puccini’s last opera. “Turnadot.” When he sang in the Albert Hall at the invitation of 8.8.C1, some time ago, he was described by London critics as possessing “a wonder voice’’ —"one ot the voices of tho century. BETTY STOCKFIELI). Three years ago Betty Stoeldiekl obtained a part in one of Chariot’s reviews. She had no stage training, whatever, and no influence, hut she was beautiful, with deep, rather soulful eyes and a full-lipped rather tragic mouth. She made Gertrude Lawrence her ideal. In fact, so struck was she with Misw Lawrence’s personality and performance that she took the trouble to learn the whole of the populai comedienne’s part, although she was not even an understudy.

One night Miss Lawrence was suddenly taken ill. Her understudy was also ill. There was consternation behind tho scenes. M. Chariot was at (us wits’ end. Then a timid voice suggested, “I think [ could phi.' flu part.” A wide-eyed M. Chariot gazed down at tho girl with the tragic mouth. Some of the bystanders laughed, but there was nothing else to lie done. The tragic-mouthed girl went on, sang, danced, and had an ovation. A feuweeks later the company lelt for America with Betty Stock-field playing one of the comedy lends! A year later sho decided she would like to leave revue for the legitimate stage. She called on Sir Gerald du Manner. She walked out with the nart of junior loading lady in “5.0.5.” in her handbag.

Early this year she thought she would like to try the ‘'‘talkies.” Sim heard that a leading lady was being sought for “City of Song,” a British super-production which was being planned at Wembley. She sent her photograph to the director. He called on her and when he lelt she had been given a contract to “star” in the film.