STRAND

Sun (Auckland), Volume II, Issue 596, 23 February 1929, Page 15

STRAND

“THE BATTLE OF THE SEXES”

“The Battle of the Sexes,” D. AV. Griffith’s latest feature film, opened the new picture week at the Strand Theatre last evening. Though this producer has turned out few films in the past few years, in this picture he has succeeded in presenting a powerful story of the “silly age” of man, when, after commercial success, man is most susceptible to the arts and wiles of calculating women of the “gold digger” type. The subject is a difficult "one to handle, but with deep insight into the psychology of men and women, the producer has succeeded in depicting a tragedy of married life.

The story concerns a successful business man, whose domestic life is .of the happiest. A charming wife and children supply all the happiness that man can desire, but, being at that dangerous period, middle-age, he falls a victim to the wiles of a siren-voiced peroxide blonde, whose selfish pursuit of money at any cost makes her oblivious to any pain she may cause. Tho suffering of the man’s family is handled in subtle and masterly fashion, the usual masculine attitude to the “double standard” being stressed particularly.

How the scheming woman is finally disposed of by the family, and the resulting shame of the erring husband, is revealed in powerful fashion. The realisation of the difference between the gold of domestic happiness and the tinsel of momentary glamour gives excellent opportunity for subtle acting, and the principals in the film have -taken advantage of the delicacy of the subject handled. A picture of interest to every man and woman in the world, treating the age-old but ever new subject, “The Battle of the Sexes” is a picture to see—and remember. Though the plot is not intricate, the human interest and simplicity of the treatment are supported by excellent character work, making the picture one of the best that I). AV. Griffiths has ever given out to the world, and as a portrayal of the social life of the present day it stands out as a classic.

Tho acting of Jean Ilersholt, Phyllis Haver, and Bon Alvarado is excellent, and difficult parts are handled in a masterly style.

In addition, there is a fine supporting programme. The U.F.A. film, “The Sleeping Beath,” depicting the effect of the germs of sleeping sickness in the human blood. This picture must surely be unique. Nothing could be more educative than the sight of the dreaded germs, conveyed by the tsetse fly, struggling with and eventually conquering the white corpuscles, the soldiers of the human life stream.

“Bear Knees,” an animal comedy, is a riot of laughter, the almost uncanny action of tho animals keeping the audience in fits of merriment throughout. A fine news pictorial film is also shown.

A feature of the entertainment is an unusual and beautifully staged prologue, “Love Triumphs,” which precedes the feature film. Staged by Miss Gwen MacNaughton and Mr. AV. Brough, it adds considerably to an already attractive programme.

The Strand Symphony Orchestra, under the leadership of Eve Bentley, provides the usual excellent musical fare.

“The AVedding March,” which will be one of the biggest pictures of 1929, is a story of the pre-war glory of A 7 ienna. All the glitter and pomp of the Viennese Court and its military regime have been re-enacted under the direction of Erich von Stroheim, the producer and star of the picture, who spent his boyhood in the Austrian capital.

Janet Gaynor's latest production for Fox Films” titled “Street Fair,” will henceforth be known as “Christina.” This was especially written for Miss Gay nor by Tristram Tupper, eminent author of “The River” and other novels. Charles Morton and Rudolph Schildlcraut have featured roles in this production