PATHETIC COQUETTE

Sun (Auckland), Volume III, Issue 786, 5 October 1929, Page 18

PATHETIC COQUETTE

MARY PICKFORD TALKS AT THE STRAND STORY OF THE SOUTH A new Mary Pickford, changed in appearance, in methods, in character, type—in everything save that wistful infectious personality that has sustained for sc long her claim to the title of “World’s Sweetheart.”

That is the actress who reintroduced herself last evening to a first-night Strand audience in “Coquette.” In fact it must be said that Mary Pickford, in her ultra-modern guise made her debut to

Auckland. It only remains to be seen whether she can compete as successfully in the new sphere as she did in the old. Judged by her performance i n “Coquette,” she need have no fears for the future, and

it is a just tribute to a consummate artist to say that she pictures the flapper of 1929 as readily as she portrayed that host of difficult and unusual characters right back to her historic “Tess of the Storm Country.”

Of still greater importance in relation to her future is that the Pickford voice emerges from its first talkie test with success. To her producers this must have been a matter for considerable anxiety, for the actress represents pictorially all that is dainty and desirable in feminine individuality. Therefore had her voice proved unsuitable the whole illusion would have been shattered.

So much for the star and her personal achievement. “Coquette” as a picture is worth special attention by reason of its charm, its fascinating “human” interest, and its pathos.

“Coquette” is the story of a smalltown girl in Southern America, holding a prominent position in local social circles, yet chained by family pride mixed with a measure of parochial snobbishness. Meeting a young man from the hills she falls in love with him, thereby earning the intense displeasure of her father.

Events move through scenes both light and dramatic to a climax wherein tragedy follows a misunderstanding of a compromising situation. Then follows a sequence of pure pathos brought about by a father’s realisation of his unwise attitude and hot-headed action.

“Coquette” is delightfully acted, not only by the star, but by every member of a, strong supporting cast, which includes John Mack Brown, as the country lad, Matt Moore and others. Moreover, the film is beautifully photographed and mounted —the hallmark that Pickford releases seem destined to bear.

Throughout the production has been taken at a brisk tempo, giving it that smartness so sought after in popular feature pictures, yet losing nothing of the appealing and dramatic qualities. Finally there is the dialogue side of “Coquette.” This is clear, effective and, for the most part, pleasant. American accents are heard, and rightly so, for it is an American tale, but no really bad twang is introduced. Mary Pickford speaks effectively and quietly.

Supporting the Strand latest feature offering is another of those shortsubject programmes in which aews, novelty and the cream of vaudeville are blended.

In the front rank must be placed George Robey—king of England’s revue and music hall comedians. George’s talkie is a “pantomime drama,” char-

acterisation —a screamingly funny interlLide into which the comedian infuses a subtle depth of meaning. An instrumental string quartet provides a delightful musical film, and Fox’s Movietone News transports the audience to scenes and happenings of world-wide interest, including the impressive funeral of the late Marshal Foch.