GRETA THE SIREN

Sun (Auckland), Volume III, Issue 625, 30 March 1929, Page 13

GRETA THE SIREN

“THE MYSTERIOUS LADY” REGENT’S RUSSIAN DRAMA Or eta Garbo, in the past an alluring siren beloved of John Gilbert, but rather overshadowed by his stellar prominence, comes into her own. She is the unchallenged principal of “The Mysterious Lady,” which opened as a special Easter attraction at the Regent on Thursday evening. To-night will see a worthy programme, further embellished by the appearance of Gautier’s performing dogs, who can copy a human being in almost anything except speech. Yet Thursday’s bill was indeed a substantial one, much too good to be overlooked. “The Mysterious Lady’’ took pride of nlace. not only because it was the feature film, but becauce it happens to be a rattling good drama, with a neat blending of excitement, intrigue, and love interest. The story runs in the diplomatic circles of Russia and Austria in the days before the Great War, and the atmosphere created by a clever director, a lavishhanded property man, and a generous studio constructor is just right. Though it is a “spy” drama of typically thrilling calibre, there is mere than the usual amount of human interest about “The Mysterious Lady.” The love story of an officer who betrays his country by becoming infatuated with a fascinating woman is ingeniously* told, and the personality of the star is exploited to the utmost. Playing opposite the beautiful Greta is Conrad Nagel, a popular actor, who is steadily* pushing his way through a crowded mass to the front rank. His part is an important one, and he handles it exceedingly well. The plot of the picture deals with the activities of the officer after he realises the foolishness of his move. He follows the mysterious woman spy to Russia, intent on revenge, but is captured. Then it is that the lady renounces her calling, declares her love for her victim, and saves his life. There are no slow or dim moments in the action of this picture. From first to last it holds one in effortless suspense, and the final sequence is entirely* satisfying. A worthy supporting film was “Let ’Er Go. Gallagher:” a story of newspaper life in an American city that rang true despite the “thriller” nature of the action. It introduced that wonderful juvenile personality*. Junior Coghlan. who fairly makes the picture by the excellence of his ty*pically boyish acting. “Let ’Er Go. Gallagher!” told of a young reporter who lost his job because he was too "cocksure,” and regained it by* capturing a notorious criminal. The action was faster than anything we have seen for many a day. and one was kept on the edge of the seat throughout. A gazette, and an excellent comedy, completed the film bill, while Mr. Maurice Guttridge and his band were in top form. To-night; Gautier s wonder dogs.