NEW REGENT

Sun (Auckland), Volume III, Issue 626, 1 April 1929, Page 15

NEW REGENT

“THE MYSTERIOUS LADY” Star, story, director and cast unite in making an outstanding film in “The Mysterious Lady,” now at the New Regent Theatre. Such an array of talent provided with such story material and such resources could not do otherwise. Greta Garbo was born to such roles as that of the alluring spy; Conrad Nagel, as her lover, betrayed and reconciled again, will surprise even his greatest admirers in this dashing role, while the story will strike home to everyone. It is the -type of thrilling, alluring mystery the public is craving for.

The plot is laid in Russia and Austria in pre-war days and a thrilling romance is woven into the gripping drama of nations who fought each other unceasingly under the guise of friendliness—using beautiful women and suave, fearless men as their human weapons. It is a war of wits—a bitter battle of guile and wile. They meet in the gayest cafes of Europe’s gayest capitals, to obtain by subterfuge of every sort from plain deceit to theft and murder the military secrets each guarded so closely. In this case, a young Austrian officers falls in love with a beautiful, mysterious Russian girl, and she with him; then, when he learns the truth, and, scorning her avowal of love, sharply dismisses her, her blazing womanly pride profounds him, dishonours him, and, finally, degrades him in his country’s sight. Later, he “escapes” from prison by the connivance of a high official and, disguised as a musician, penetrates the Russian Secret Service organisation to its very heart. But here “The Mysterious Lady” proves her love rather than see him trapped and lost to her for ever, by tearing herself apart from the vile system she had so long been enslaved to and risking her life to save his. The supporting east of “The Mysterious Lady” includes Gustav von Seyffertitz, Edward Connelly, Albert Pollet and Richard Alexander, and all contribute highly competent performances, giving the last touch of perfection to an unexcelled attraction. One of the best of the many vaudeville acts introduced to Auckland by the New Regent Theatre is that by “Gautiers Dogs,” which was presented for the first time to record audiences on Saturday. The stage is set with a house under construction with scaffolding, and piles of bricks, and the dogs appear as the workmen. They wear hats, shirts and trousers, and drive miniature carts loaded with materials. The most amusing features of the act is their manipulation of such lab-our-saving devices as pulleys and lifts, and the death of one of the workmen, mourned over by his widow and child. In addition they give a number of clever acrobatic turns.