MAJESTIC

Sun (Auckland), Volume 1, Issue 68, 11 June 1927, Page 17

MAJESTIC

“LOVE OF SUNYA” Gloria Swanson in the role of tragedienne is something new. So is of Sunya,” her first United Artists release, which the Majestic Theatre screened last night before an enthusiastic audience. All who saw "Sunya” voted it a decided success. .Gloria oh this occasion explodes a rather daring and original scheme. In less experienced hands, or impersonated by an actress with less versatility, “Sunya” might quite easily have missed fire. As it is, Gloria establishes herself In the realm of tragedy, and demonstrates to her admirers that comedy is not necessarily her sphere.

The process of reincarnation is the theme of “Sunya.” Following a brief but melodramatic passage-at-arms with an Egyptian priest 3,000 or more years ago, Gloria finds her soul in the body of a modern American girl. Gloria Swanson is no longer an ingenue. This portion of "Sunya” is the least convincing. The actress should follow the advice of a popular American song of the day and “be her age.” Gazing into a crystal, presented by her erstwhile Egyptian priest acquaintance (now still recognisable as a gipsy), Gloria is shown her path throulig life. First of all the ve:J is lifted from the thorny path which a prima donna must follow if she would win, and retain, fame. It is this role that gives Gloria Swanson some of her best opportunities in “Sunya.” The indolent/sensuous, pleasure-loving and wine-imbibing songstress is admirably portrayed. Shuddering, naturally, she refuses such a career. Then, opened to' her is her father's suggestion to marry a millionaire who would re-establish the paternal fortune. A life of riotous pleasure and then Gloria saw herself trapped, divorced, disgraced. No, there was only one to follow. It was the path of love. Sunya realised that she must make her inevitable decision. By this decision she released the former priest, from his vow, and happiness was found for all. “Sunya” will always rank as. one of Gloria Swanson’s greatest achievements. Notable support is given by Flobelle Fairbanks (a capable little actress whose claim to fame does not entirely rest upon the fact that she is the famous “Doug’s” niece); Andres de Segurola, in the role of the excitable Italian impressario; Pauline Garon, who was sweetly vindictive as the sweetheart of Sunya’s would-be husband; and John Boles, a mandy lover who is not a great actor. Jack Lumsdaine sang “Blackbird” with his accustomed vim, and was amusing with his tale of “a little bit of fluff.” His Maori offering, in which he included, as so many others have done, the picturesque Wanganui, is not a particularly notable addition to his repertoire. When Mr. Lumsdaine told the audience that it had taken him less than an hour to compose no one disbelieved him. The second contingent of “Miss Ne\; Zealand, 1927,” entrants, photographed near the tea kiosk in the Domain, the Majestic News, Eve’s Review, an I "Time Flies.” a comedy, completed the bill.

The orchestra’s “Maritana” overture, and selections from grand opera, which included the “Sextette” from “Lucia,” were thoroughly enjoyable.