“THE STREET OF SIN”

Sun (Auckland), Volume II, Issue 543, 21 December 1928, Page 15

“THE STREET OF SIN”

JANNINGS AT THE REGENT A great star, a startlingly-dramatic film, a remarkable novelty act, and a strong supporting programme to occupy what little time is left. Again the Kegent has selected a bill of outstanding merit. It was presented for the first time last evening, although the stage act made an appearance two days ago with other pictures, and from beginning to end the evening was one to class among the best offerings of the year. From every point of view “The Street of Sin” is an exceptional production, but its principal appeal is gained from the fact that Emil Jannings is the star. Jannings is undoubtedly the most able artist appearon the screen today, and a striking example of the triumph of pure histrionic skill. He is not a particularly romantic figure; he is not even a handsome man; but his skill lifts him far above the common level, and prototypes of Adonis, with their ‘‘it’’ and sex appeal, pale into insignificance beside him. This remarkable German came to the front in “Variety.” His last screen appearance in Auckland was in “The Last Command,” a Paramount production. “The Street of Sin” is better and sounder than its immediate predecessor, for the star is more at home in his role. The picture is less sentimental, more elemental and vital, and the story rings true. In the slum area of a city lived a brutal gang leader. His fists were all-powerful and his whims obeyed. To his realm came a Salvation Army lass, strong in her faith, determined to open a house of refuge. The gangster fell in love with the newcomer, casting aside a drab woman who had been his follower. He assisted in the establishment of the refuge and helped in the good work of reform.

But the girl was still a stranger to him. She repulsed his veiled advances with, the cool purity of her personality. In frenzy he set fire to the .refuge with the girl inside. This is the climax of “The Street of Sin.” From there it tails off to a more or less conventional reformation and conclusion. But for the direction, photography, and Emil .Tannings, it might be quite an ordinary production. Actually it is real, gripping and intensely convincing in every foot. There are those who may dislike “The Street of Sin,” dislike it because .of its stark realities, its unswerving forcefiflness. Nevertheless they cannot but admire it and accept it for what it is. “Varsity,” starring Charles Rogers and Mary Brian, is the second picture —a rollicking romance of American college life that is the logical outcome of the apparently growing demand for this attractive type of film. Special interest is attached to the production for the reason that the outdoor sequences were made at the Princeton University. The story tells of the University janitor who succeeds in finding sufficient money to give his son a higher education, while hiding his identity from the boy. Last evening Schistl’s Wonderettes again delighted the audience. The act constitutes an amazing elaboration of the familiar puppet-show, and includes an attractive medley of dance, action and mysterious transformations. An excellent news budget is included, and the Regent Orchestra gives of its best overture and incidental music.