“THE LAST COMMAND”

Sun (Auckland), Volume II, Issue 466, 22 September 1928, Page 15

“THE LAST COMMAND”

REGENT VARIETY PROGRAMME A picture within a picture is “The Last Command,” an unusually interesting dramatic production, starring famous Emil Jannings, that was shown at the Regent Theatre last evening. It was supported by a programme in which variety was the keynote; and it may be said unreservedly that the bill as a whole is one of the best yet offered by the Regent management. “The Last Command” is a story told in the bitterness of an old man’s recollections. £t traces the fall of a modern Wolsey, left in the evening of

enemies,” and traces it in unique fashion —by a sort of pictorial soliloquy. The settings of the play are Hollywood, 1928, and Russia, 1917. A general of the Russian Imperial Army has been hounded from his country and drifts to Holly-

wood, where RusErril Jannings sians are being employed for work on a big production dealing with the Russian revolution. The preparations and bustle remind him of the past, and he travels in memory back to the red days. He sees the face of a girl, a rebel maid for whom he cherishes a deep affection. At the time of his degradation and at the climax of the horror that followed, she had gone out of his life, leaving him a broken wanderer. Awakened from his reverie, the old man takes his place among the picture extras. By the irony of fate he is called on to enact the part of a Russian general at the head of his forces —to mock the personality of the man he had been. The film director—his superior—is the man who was his bitterest enemy; the colleague of the girl he had loved. The end comes with the death of the general at the close of the mock battle. Before his passing he lives once more the battle moments of a victorious general, and the director helps the illusion to take soothing shape. This is tragedy, and one of the first to be attempted by an American producer. In weak hands it might easily be unsuccessful, but it is magnificently handled by that prince of actors —Emil Jannings. In the dominating role of the general, Jannings is superb, and all his wonderful powers of detailed and subtle characterisation have been lavished on the part. Next on the Regent programme is “Winter Frolics,” a captivating interlude show presented by a ballet of 30 pretty and daintily-frocked girls. It is a gladsome dancing whirl —a gay interpretation of the spirit of winter sports in a medley of moods. Isabella Brook was the principal soloist. Last evening the scenic and lighting effects were a feature of this speciality act, and every credit was due to the producer, Miss Cecil Hall.

Mr. Maurice Guttridge gave a delightful musical interlude, using the giant Wurlitzer organ. It provided also a singularly fitting accompaniment to the Regent Orchestra, which was also at its best.