A FILM TRIUMPH

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

A FILM TRIUMPH

“SUNRISE” AT THE STRAND “Sunrise,” a William Fox production, was presented for the first time in Auckland at the Strand Theatre last evening. It introduced the onlookers to an entirely new standard of motion picture art and must have created a profound impression. To miss “Sunrise” would be a pity, for it would mean to fail in becoming acquainted with the best and greatest possibilities of screen entertainment. Without question, it is one of the most worthy and striking films that has reached New Zealand in this or any other year. This picture is all that has been claimed for it, and more. It is the inevitable result of masterly directorship combining with flawless photo-

graphy in circumstances that give practically limitless production scope. A plot of stark simplicity has been handled in a manner that is revolutionary, yet tremendously effective, and so powerful is the personal appeal that one becomes, for the time being, on equal terms with the characters of the story.

This intimate, personal touch has been achieved by the work of the camera-man, Charles Rosher. The general photographic effects constitute a triumph, but it is the strange follow-ing-up detail and action that is so completely irresistible. The lens of the camera has been as the eye of one who has actually taken part in the events portrayed—it has absorbed surrounding emotions and created harmonising yet distinct emotions of its own. The direction of Dr. F. W. Murnau dominates “Sunrise,” and has a touch of genius that is unique in screenland. To him the players have been merely puppets who have served to illustrate a theme, and this theme is conveyed with a remarkable singleness of purpose. The three principal people are known simply as the Man, the Wife, and the City Woman. Similarly, the settings of the story are nameless. They represent any great city and any simple farm. Only the contrasts are definite, and greater or more effective contrasts could not be imagined. The story of “Sunrise” is the story of a. young farmer who becomes infatuated with a city woman. She weaves round him the spell of the city’s glamour and he agrees to her plan for the murder of his wife. He repents after betraying his intention, and his terrified wife flees toward the city. He follows her, and after a reconciliation they wander like happy children, spending a second honeymoon in a great amusement park. On the way home their little boat is caught in a storm and upset. Believing that his wife is drowned, the man struggles ashore, determined to revenge himself upon the woman who has h «en the cause of his troubles. He is about to kill her -when he receives news that his wife is safe. Treated almost in allegory, the theme becomes universal and completely cosmopolitan. The city and amusement park sequences have been devised with dazzling wizardry, and the rural scenes are hauntingly beautiful. Janet Gaynor and George O’Brien have the leading roles, and both suit perfectly the personalities that have been created for them. The presentation of “Sunrise” last evening was accompaniea by excellent orchestral effects and an appealing musical score. The picture was heralded by an admirable living reproduction of “The Angelus,” after which Miss Sara Stagpoole sang charmingly. Other attractive items on the Strand programme were the overture “Orpheus,” an interseting news budget, a variety film, and a clever musical interlude ni which Mr. A. J. Lawrance, assisted by the orchestra and a number of descriptive slides, proceeded to prove that many popular songs were “cribs” from older compositions. Lew Cody has just completed “The Single Man,” his last co-starring picture with Aileen Pringle. Periscope photography has been used to film the novel underwater scenes, depicting Miss Pringle and Mr. Cody as they plunge through the water.