MAJESTIC

Sun (Auckland), Volume III, Issue 742, 15 August 1929, Page 15

MAJESTIC

“THE AWAKENING” This evening sees the final screening at the Majestic Theatre of the dramatic police and underworld story, “While the City Sleeps,” which stare Lon Chaney in the leading role. This evening will also mark the final appearance of Mr. Whiteford-Waugh’s Majestic Orchestra, as tomorrow th© Majestic management will inaugurate the new policy of talking; and soundsynchronised pictures. “The Awakening,” Samuel Goldwyn’s latest production, which heads tomorrow’s programme, is a film with sound effects and musical synchronization, and presents Vilma Hanky as a star in her own right for the first time in a role which gives her new and greater opportunities for highly strung emotional acting as Marie Ducrot, the belle of the simple little Alsatian village of Pre d’Or. Heretofore, Miss Banky has been a feature played appearing in the main with Ronald Colman.

The picture is a notable example of straightforward plot, unmarred by side developments, laid in only two settings but achieving contrast through che depiction, side by side, of peaceful peasant life just before the World War and the horrors of the first few days of the conflict. The story of this United Artists’ picture introduces Louis Wolheim, the famous character actor, and Walter Byron, the English actor, in the featured roles. Vilma Banky is Marie Ducrot, sought in vain by many lovers, as the symbol of beauty and innocent purity for the whole village. Karl von Hagen, a dashing lieutenant of Uhlans, played by Walter Byron, sees her and determines to make a conquest of her during the week that his troop is stationed in Pre d’Or. Von Hagen accustomed to success with women, finds himself opposed by Lebolt, the richest peasant in the village, played by Louis Wolheim.

Von Hagen, who succeeds in enticing Marie to his quarters on the night of his departure, discovers too late that he really loves the innocent girl whom he has taught to love him, for the villagers, led by Lebolt, have whipped her out of the village in disillusioned rage and poured over the doorstep of her cottage pitch, symbolic of her fall from virtue.

The village fete which provides a pastoral prelude for the tragedy and danger of the stoi*y has furnished Samuel Goldwyn with an opportunity for charming scenes of dance and rustic revelry. The uniforms of the German officers mingle with the picturesque costumes of the peasant girls. Particular pains were taken with the costumes of the piece, since the uniforms and the peasant dresses are not Ameri-can-made replicas but actual costumes imported from Germany and Alsace.