A TALKIE COCKTAIL

Sun (Auckland), Volume III, Issue 733, 5 August 1929, Page 15

A TALKIE COCKTAIL

‘BROADWAY MELODY” OPENS [ SNAP AND SPARKLE AT THE REGENT There is a sequence in “Broad- | way Melody” that consists of prob- f ably the most exquisitely mounted and perfectly executed theatrical . revue scenes ever watched by a New Zealand audience. Filmed in technicolour, photographed with full singing and sound effects, and interpreted by a special group of dancers, it is the outstanding and unforgettable feature of a brililant production. Without doubt, “Broadway Melody” is a new page in the yet-slender his- „ tory of talking pictures. Presented to ] capacity audiences at the Regent on ( Saturday, it fulfilled every anticipa- ] tion, and surprised even the most regu- t lar talkie enthusiasts. This speedy, sparkling comedy- i drama of New York’s “Tin Pan Alley” and theatreland is a spectacular musi- i cal comedy in screen form. Were the i actual theatre scenes more numerous, and the thread of the story less prominent, one might well imagine that the cameras and recording apparatus had been placed in the stalls of some noted Broadway revue house. As it is, “Broadway Melody,” a piquant cocktail of pretty girls, catchy melodies, nimble dancing and more pretty girls, constitutes a striking effort on the part of talkies to beat the musical comedy, entertainment at its own attractive game. And, from a technical viewpoint, it is certainly the most realistic and in every way the best sound and speech picture secured by the Regent to date. To British ears, the .racily theatrical dialogue throughout is almost startlingly American, but this can be accepted, as it is in tune with the theme. Opening with a scene in “Tin Pan Alley,” the story deals with the birth of “Broadway Melody,” a giant musical show, the theme song of which has been composed by a young New Yorker. He secures places in the cast for the Mahoney sisters, one of whom is his fiancee, but complications appear when he falls in love with the other. Through tie situations that follow runs a pathetic little vein of personal sacrifice. It contrasts sharply with the gaiety, the scintillating brilliance of its setting. Scene follows scene in rapid and intriguing succession. Clay chatter, bright music--and singing, glimpses of a -mammoth chorus at rehearsals, gorgeous scenes from the show itself—there is everything in ‘Broadway Melody” that the most ardent talkie lover and the most weary business man could wish for. Three young players vie for prominence in the principal parts. By a shade, the most successful is Bessie Love, young in years but old in film experience, who does magnificent work as the leader of the Mahoney sisters. She is vivacity itself, and the life and soul of every scene that calls for her appearance. Anita Page is admirably cast as the other sister. Her blonde prettiness is exploited to the fullest, and her acting is convincing. Charles King, the star, gives the best performance of his career, and sings attractively. The musical numbers include “Broadway Melody,” “Love Boat,” set in another captivating revue scene, and ‘ You Were Meant for Me.” On Saturday each proved a hit. Supporting this exceptional feature talkie were a number of really good short subjects, two of which demand special attention. First was a picture by the well-known gramophone quartet. “The Revellers,” and secondly, a bracket of songs by William O’Neil. Broadway star of “The Desert Song.” In each the reproduction was such that one forgot the film entirely. Other enjoyable “shorts” were “Sunshine Sammy,” a clever and humorous interlude, and George Lyons, a singing harpist. Selections were played by Mr. Arthur Frost at the Regent organ.