“CRADLE SNATCHERS”

Sun (Auckland), Volume I, Issue 212, 26 November 1927, Page 17 (Supplement)

“CRADLE SNATCHERS”

STAGE ,SUCCESS ON SCREEN

MAJESTIC’S NEW BILL As a matter of fact it is not necessary, in these modern days, for the wives to be away before husbands commence to play. So, perhaps, after all, it is essential that the old adage anent the cat and the mice should be reversed. Nevertheless, it is a fact that the wives in “Cradle Snatchers” LID play. With such advantage, too, that erring husbands, flapper inclined. were brought back by the ear to their “faithful” spouses. There is a world of truth, which cannot altogether be submerged in the uproarious laughter j which followed the screening of tlie pictorial version of the stage success last night at the Majestic, in “Cradle j Snatchers.” There is something pathetic in that middle-aged madness which impells otherwise respectable husbands to frisk and gambol as they never did in their youth; for the edification, too. of designing little minxes who are only interested in their “sugar daddies” for * what they can get out of them. Therefore, one does feel a certain | amount of sympathy for the three wives, admirably interpreted by Louise j Fazenda, Ethel Wales and Dorothy Phillips, who desire the return of their husbands with such a lesson that j they will never be tempted to stray again. For the wives, the situation is undoubtedly serious. Facing middleage, with the best years of their lives —as they quite frankly put it —given to their lords and masters, what have they to look forward to but the comfortable obscurity and security of their homes? We have always known Louise Fazenda for a comedienne. In “Cradle Snatchers” she is vouchsafed the part she has probably always longed for. Louise has never pretended that the first blush of youth was still upon her cheeks. Neither has she ever failed to make the utmost of the character roles that have come her way. As the ring-leader among the scheming wives Louise gives an admirable study. One longed to hear the crisply snappy lines falling from her whimsical mouth. Ethel Wales and Dorothy Phillips are entirely sufficient as her companions in distress who engage youths in order that the jealousy of their disinterested husbands might be aroused. Sammy Cohen is introduced into the picture for no particular reason ex- j cept perhaps to provide an amusing | interlude—not that there is not comedy j enough. In many respects the screen version does not follow the stage production. There is a somewhat unnecessarily long introduction dealing with the school life of the three young sheiks, which is quite unknown in the j stage production. It is laughable j enough in its way, but hardly essential. Betty Nuthall, the young tennis j champion, is seen in her home circle j in the Pathe Gazette, also Madge Elliott and Cyril Ritchard, well-known in j Auckland, in a dancing scene from j “Lady Luck,” their latest London I musical comedy success. Suppe was again called upon by J. ! Whiteford-Waugh and his orchestra j to provide their overture. “The Jolly J Robbers” is this week’s selection. The j conductor has also a special score for j the screening of “Cradle Snatchers.” j The Majestic as usual is concentrating upon the musical side of its pro- j gramme. Kamo with his banjo and kindred j instruments has something new to offer i in keeping with the spirit of jazz, and. !

once again, puts an extraordinary amount of energy into his little act 1 “Gentlemen Prefer Scotch,” which i like the principal picture, comes from ’ the Fox Studios, together with one of | those delightful little glimpses of New Zealand—Lake Wakatipu and her ■ thousand reflections—in which the j Majestic specialises, completes a thor- j oughly palatable bill.