DRAMATIC BEAUTY

Sun (Auckland), Volume III, Issue 620, 23 March 1929, Page 15

DRAMATIC BEAUTY

“THE CONSTANT NYMPH” MAJESTIC’S BRITISH FILM A delightful fihn is “The Constant Nymph.”—beautiful in its simplicity, its harmony, and the truth of its dramatic values. It must be given a commanding place among recent British pictures or, for that matter, among recent pictures from any country. Its coming has created unusual interest, for Margaret Kennedy’s book is universal in its popularity and the play is still enjoying marked attention in England. “The Constant Nymph” in her screen form and through the charming personality of Mabel Poulton, made her bow to Auckland at the Majestic last evening. Onlookers, including the Governor-Gen-eral and his party, pvinoffl inct-i +

appreciation, and a delightful screen hour followed. Supporting “The Constant Nymph” was another of those distinctive Majestic programmes, the smallest feature of which is always much too gool to miss. First came the news magazine, an up-to-date budget. Then “Revels of the Riviera,” a novel blending of scenic film and comedy, depicting the famous revels at Xice during the 10 days before

Thirdly, “Soaring Wings,” a beautiful U.F'.A. nature study, disclosing the wondrous aviation of birds from the sweeping flight of the condor to the silent swoop of the owl. A. Yorke Gray interlude —quite the best he has yet devised—came next. “The Fan Fantasy, 4 ” as it was titled, proved an attractive pot-pourri of song and Argentine dancing offered against a background of glowing colour. The final ensemble was indeed a credit to the producer.

Then a few musical moments, Mr. J. Whiteford-Waugh having selected Fritz Ivreisler’s “Viennese Melody.” It was an excellent item., well and smoothly played.

And now a return to “The Constant Nymph” and a necessary acknowledgment of British art. As Tessa. Mabel Poulton surprised her most ardent admirers and gave a thoroughly natural and captivating performance. As her erring but admirable lover, Ivor Isovello excelled himself. The picture followed the play faithfully, the characters were just right, and the atmosphere of each scene was neither thin nor oppressive.

The one jarring note in the presentation came from below the screen, where hopelessly unsuitable “effects” were attempted. It were better far if such a film had been allowed to speak for itself.