MUSIC AND DRAMA

Sun (Auckland), Volume III, Issue 731, 2 August 1929, Page 17

MUSIC AND DRAMA

SUCCESS OF “SHOW BOAT” A FILM TO REMEMBER A film to remember is “Show Boat,” Universal’s talking, singing “special,” which opened at a novel midnight performance in the Strand Theatre last evening. It is a full talkie release of quite unusual character, being easily the biggest and probably the most distinctive film offered by FullerHayward Theatres this year. Attendance at a picture premiere while the city slept was a new experience for Auckland enthusiasts, but those who came to gratify a whim stayed to admire. The warmest suburban bed had no attraction while the sequences slid through the projector. It did not take long for “Show Boat” to demonstrate its exceptional characteristics . The opening shots of the quaint river theatre steaming from town to town, accompanied by the wonderfully . suitable music that was such a feature of “Show Boat,” the musical play, captured and riveted one’s attention. They were an earnest of what was to come and, as the minutes passed, the show became better and better. Three remarkable features vie for special commendation. First, there are the magnificent settings and “sets” of “Show Boat.” Secondly, the beauty of the music, and the excellence of the singing; thirdly, the worth of the acting, hand in hand with the clarity of the dialogue. Based on the popular Edna Ferber novel. “Show Boat” was made by Carl Laemmle in co-operation with Florenz Ziegfeld, producer of the New York legitimate adaptation, who arranged the introduction of his original vocalists, and Oscar Hammerstein, who wrote the lyrics The result is a truly beautiful proi duction. exact as to period, perfect in ' atmosphere, filled with charming musical interludes, and containing moments of sheer delight. The film is exceptionally long and there are times when its action is ponderous, but the story, the entertainment of it all, grips as few screen presentations are able to do. “Show Boat” carries one back to the America of two generations ago; to the days of lazy Southern habits, of “coon'’ songs, “rag time,” and quaint melodrama in the romantic show boats that moved on the broad waters of the Mississippi River. One follows the fortunes of a girl, cursed by an impossible mother and destined to marry a charming wastrel. There are moments of joy and much pathos; yet it is a happy tale, fresh and wholesome as the setting in which it opens. The talking sequences of “Show Boat” are magnificent. Clearer or more realistic vocal reproduction could not be wished for, and every sound is projected without a hint of distortion. Laura la Plante, who plays the leading part, gives easily the best portrayal of her career, while Joseph Schildkraut does magnificent work, both in speech and action. His scenes with “Magnolia” when the young couple are reduced to poverty could hardly have been bettered. Second only to the two stars is Emily Fitzroy who plays the mother—a consummate actress with exceptional character ability. Then there are the songsters of “Show Boat.” The negro band that appears in the prologue contains singers of outstanding merit, and a group of delightful old melodies of the South sounded the keynote of the entire production. Throughout, these songs were'introduced at intervals, sung by Laura la Plante and others. They formed an ideal musical background for’ the plaintive theme song. “OF Man River,” sung first with sonorous effect by an excellent negro bass and

repeated in various moods and varying circumstances. From practically every angle. “Show Boat” is all that a good talking film should or could be. It is perfectly photographed, carefully balanced and nobly interpreted. Despite the lateness of the hour, early this morning, not a seat in the Strand was vacated until the final scene—an unusual and therefore striking tribute to a striking movietone photoplay.