COMEDY AT MAJESTIC

Sun (Auckland), Volume II, Issue 454, 8 September 1928, Page 16

COMEDY AT MAJESTIC

MARION DAVIES STARRED IN “THE PATSY” Patricia had every girlish attraction except personality, but when she did acquire that, the man she sought succumbed. How this surrender is brought about provides the story of “The Patsy,” the comedy-drama starred on the programme presented yesterday at the Majestic Theatre. The story is cleverly worked up, arid the chronicled adventures of Patsy provide one of the best film entertainments seen for a long time. One of the great attractions of the story is that it lies all the time within the bounds of possibility, and there is a unity of action seen none too frequently on the screen. The comedy and drama are pleasingly blended, and there is an absence of strain in all the acting. The characters in “The Patsy” are all members of one family with the exception of a pair of swains for the daughters. Mrs. Harrington, the mother, rules the house, and her elder daughter is the favourite. Father and Patsy, the less assertive pair are thus thrown together for mutual protection. But their fight is a losing one all the way. Patsy is the Cinderella so far as the young men callers are concerned'., and the mother sees that she is kept well in the background to enable the elder girl to get along withoLit oposition. Yet poor Pat has a passion for Tony, who through force of domestic circumstances in the Harrington home, is driven toward the elder girl. Time goes on and Patsy decides finally that something must be done in leap year. She consults Tony about the man-catching business, and he tells her that personality is her lack. Patsy studies the books lent to her by Tony, with such assiduity that the family imagines she has become unhinged. Bright sayings flow from her and each utterance is accompanied by eloquent gestures betokening personality. Her mother, imagining this to be a symptom of mental disorder, flings the elder girl from her coddling throne, and endeavours to make life easier for her poor, broken child. Patsy

makes the most of her advantage, and then begins to turn her attention to Tony himself. It is not long before he grows to know that he is the object of Patsy’s predatory intentions, and being a thorough gentleman, he capitulates without demur.

There is excellent humour in the film, but much of this would have gone wide had it not been for the brilliant comedy acting of Marion Davies, who gave a superb study of the mooning Patsy. Marie Dressier was excellent as the dominating Mrs. Harrington. Ma Harrington had infinite resources for getting her own way, but there came a time wlien these were of no avail. Lawrence Gray, who was also in the cast, did attractive work. Another first-rate comedy element was given to the programme by Stan Laurel and Oliver Hardy, in “Soup To Nuts.” The laughable foolery of this pair as waiters was almost paralysing. A New Zealand publicity film gave interesting glimpses •of the swordfishing at Russell, and the Majestic News told the story of the world’s current history. The Majestic Orchestra, under Mr. J. Whiteford Waugh, played attractive incidental music, which included “Tancredi” (Rossini).

“A MAN’S PAST” AT BRITANNIA The noted Continental actor, Conrad Veidt, has been secured by the American film company, Universal Pictures, arid his first picture, entitled “A Man’s Past,” will be shown this evening at the Britannia Theatre. “A Man’s Past” is a screen adaptation of the celebrated Hungarian play of the same name written by Emerich Foeldes, and deals with the efforts of an escaped convict from a French prison to rehabilitate himself before society. The prison scenes are accredited with being the most realistic ever picturised, and Veidt’s subsequent escape from his solitary cell is a most vivid portrayal.' “Body and Soul.” the second feature, is a story of love in the Swiss Alps. Lionel Barrymore, Norman Kerry, and Aileen Pringle are in the cast. During the taking of the Venice “shots” of the Universal extravaganza, “The Prince of Adventurers,” the director worked from an erection constructed in the centre of the Gra.nd Canal and communications with his various heads, situated in the midst of the crowds, was effected by telephone and wireless. “The Prince of Adventurers” is the story of “Cassnova,” the immortal amorist o£. Venetian history come to life on the screen.