STRAND

Sun (Auckland), Volume I, Issue 289, 27 February 1928, Page 13

STRAND

LAST DAYS OF ‘SEVENTH HEAVEN’ “Seventh Heaven,” the wonder photoplay of the year, still continues to attract large audiences to the Strand Theatre, where the film is now in its fourth wonder week. As a play Austin Strong’s “The 'Seventh Heaven” was an outstanding and genuine success. Transferred to the screen by Frank Borzage it becomes not only a triumph for the two already mentioned, bLit for every player in the cast as well. Other great prodUwtions undoubtedly will be made, but few will present such a combination of story interest, acting and production care. The flexibility of the screen permits the amplification of the action of the stage story. The French campaign is not merely spoken of; it is recreated and the procession of taxicabs to the Battle of the Marne, supplies one of the many thrills of the picture, but striking and impressive as this and other battle scenes undoubtedly are, the greater interest still lies to the intimate story. Scenes which have been the salvation of other war stories are here subsidiary to the story of Diane and Chico, not only because of the story, but through the intensely human appeal given by Janet Gay nor and Charles Farrell. The story itself is the ch ief appeal. Chico is a worker in the Paris sewers, and an atheist, because as he explains he has given

“le Bon Dieu” two chances —he had asked £o be elevated to the position of street-washer, but there was no response. Other candles were burnt for a “golden-haired wife —and a good one.” Once more he is failed and he grandiosely announces himself an agnostic. Diane, victim of her drinksodden sister, is rescued by Chico as he comes from a sewer. The sister, Nana, gathered in by the police, denounces her sister, but Diane is saved from arrest by Chico’s claim that she is his wife. This necessitates a temporary residence with Chico until the police have made their investigations, and by that time love has come unknown, into the heart of the blustering Chico. Finally he realises that he does love, but their marriage is interrupted by the call to arms. Bravely she carries on as a munitions worker, and just as the Armistice is signed word comes that Chico is dead. Her sublime faith is shaken, but Chico, merely blinded, frenziedly makes his way through the crowds and comes to bring Diane the message of faith.

It is a simple but gripping story, tenderly told. One feels that the realisation of the story was a labour of love with the director and not merely an appointed task. Preceding the screening of the photoplay, is an atmospheric prologue, “An Attic Near the Stars,” with Mr. Birrell O’Malley and Miss Phyllis Hazel enacting respectively the roles of Chico and the little Diane. A delightful musical programme is rendered by Eve Bentley’s Strand Symphony Orchestra which renders as its overture selections from “Mignon” and plays throughout the picture a special musical score.