COLOUR AND SOUND

Sun (Auckland), Volume III, Issue 754, 29 August 1929, Page 14

COLOUR AND SOUND

“REDSKIN” AT PLAZA WONDERFUL PICTURE Colour photography has arrived! In “Redskin,” the film which was shown at the Plaza Theatre last evening, about two-thirds of the film reproduces in their natural colours the gorgeous scenes of Indian desert life. But ••Redskin” is not solely a blaze of colour work. It is at once a beautiful romance and a tragic and dramatic tale of the passing of the Old Red Indian. Even without the colour it would be an outstanding film—with it, it is an epic. This picture ‘ Redskin” is a new entertainment,—a film with sound synchronisation, and natural colour in place of the old silent, black and white image. With the addition of perspective, the illusion will be complete. Richard Dix, who will be remembered by many picture fans as the central figure in Zane Grey’s “The Vanishing Race,” is here seen in a similar role. “Wing Foot” is a Navajo boy who is taken away from his native village to go to the compulsory Government school. He is wonderfully successful in school and university, assimilating the learning of the white men and at the same time earning their admiration as a track runner and sprint champion. But at heart he remains proud of his ancient race. There comes a day when he is publicly insulted for the colour of his skin, and returns with high resolve to his father's tribe. But his clothes, and his freedom from superstitions shock his people so intensely that they refuse to own him. Disillusioned, repudiated by both worlds, he seeks solitude in the vast desert. Through it all there runs a tender romance of a little Indian girl, “Corn Blossom,” from another tribe. Between her tribe, and “Wing Foot’s” there is a deep hatred, but these two lonely souls in the Government school and at the college, bridge the gap and vow to remain together. But tribal jealousies die hard; every possible barrier is put between them, and it is not until the final scenes that the two are re-united. Gladys Belmont, a young and charming player, is ideal as “Corn Blossom.” “Redskin,” filmed in natural colour, brings to the screen all the wonders of a majestic Canyon in the Navajo reservation in Arizona. Here nature has gone riot, giving the lands all the colours of the rainbow and the sunset, vast distance, tremendous cliffs, long, broad sweeps of tumultuous rocks, sands and verdures. The Enchanted Mesa is another great scene. The picturesque homes of the Indians who live in their adobe houses, high up on their fortified mesa, living now, as they did centuries ago. The film has an excellent sound synchronisation. but is not really a talkie. The stars do not speak. As a background for the theme there is a fine musical accompaniment. Also. the clear soprano of Helen Clark sings the theme song “Redskin” during the screening. “Redskin” is a haunting melody and should be very popular. With the supporting programme of talkies the Plaza have upheld their high reputation. Perhaps the most enjoyable was the burlesque “The Bookworm,” by Harry T. Conley—lt produced roars of laughter. Bob MacGregor, a typically Scotch comedian, sang and told of his amorous reminiscences, a scene from old Seville was produced with songs by Sam Ash and dancing by Lina Basquetti, and Madame Schumann - Heink 6ang “Danny Boy.” An Empire News and Pathe Gazette completed an enjoyable programme.