SPARKLING CHEVALIER

Sun (Auckland), Volume III, Issue 780, 28 September 1929, Page 17

SPARKLING CHEVALIER

“INNOCENTS OF PARIS” AT MAJESTIC SUCCESS OF NEW EQUIPMENT As far as one artist can “make” a film, Maurice Chevalier makes “Innocents of Paris.” Disregard his sparkling personality, and one discovers a more ordinary production, but the show plus the star is a delight—a fizzing cocktail of song, dancing, and airy humour, toned down with pathos and mellowed with sentiment. Thus the French music-hall idol justifies the figure on the huge Paramount contract that lured him from Paris to Hollywood. “Innocents of Paris,” presented with a remarkable talkie supporting programme at the Majestic last evening, is one of the entirely new screen entertainments made possible by sound and speech. In parts it is light and as fresh as tomorrow’s news, gay as a Montmarte supper party; in parts it is pathetically appealing. And though it must be admitted that the gayer moments are the better, and more suited to the star, no one could wish for the deletion of a single foot of celluloid. Certainly a better feature, vehicle for the demonstration of the Majestic’s new It.C.A. Photophone talking and sound equipment could not have been chosen. The new apparatus made its bow to Auckland yesterdaj*, and earned full appreciation last evening. In a specially draped theatre, the sound and talking was projected with' a new • standard of clarity, wiping away much of the artificiality of the past. It has been said that Maurice Clieva- ! Her is a French A 1 Jolson. This title j has a modicum of truth, but is rather '■ unkind to a man whose methods are ' distinctly his own—for Chevalier, as j it were, is a rapier to Mr. Jolson’s broadsword. Where the American j slashes and forces borne his songs and I business, Chevalier thrusts and twinkles nimbly with a method both boyish and sophisticated. Chevalier’s personality is a tricky thing, enticing rather than compelling attention. He is never at rest, never dull, never quite the same for two moments at a time. When he sings, the melody comes from his hands, his expression, and his nimble feet. He cares nothing for poise, and everything for meaning and melody. His French numbers in “Innocents of Parris” are delicious, and he does his very best with, the theme songs supplied by j Paramount’s writers. Of these “Louise” I is the best, though the filial number is j catchy in its way. DEALER’S AMBITIONS “Innocents of Paris” is one of those j written-for-the-star stories that carry : neat little plots twisted into conditions j which best suit the leading players. It tells of a young second-hand dealer who is spurred on to becoming a famous vaudeville artist because of the tatints of his future father-in-law. On the threshold of success he is threatened with the loss of the girl, but the danger passes, and all ends well in a novel finale. Sylvia Beecher, plays opposite the volatile Frenchman, and an extraordinarily clever little boy handles a big part like a veteran, providing much of the comedy relief. Possibly Maurice Chevalier will be given a still better picture, but it can be said with certainty that “Innocents of Paris” introduces him in uncommonly favourable circumstances. Moreover, the picture may be placed in the A 1 entertainment class, foremost among the films of the year that should not be missed. Among the genuinely successful supporting pictures was the latest copy of Fox Movietone Njews, in which the ) voice of the Prince of Wales was heard. It was one of the best sojund and talking budgets to date. A novel comedy interlude, dealing with inventions of the Heath Robinson variety; an instrumental short subject: and an exceptionally clever and catchy song novelty, were also included, while the Majestic orchestra was heard at intervals. Altogether, a programme with no ; weak spots, and a host of particularly j attractive moments,