“BLACKMAIL”

Sun (Auckland), Volume III, Issue 789, 9 October 1929, Page 17

“BLACKMAIL”

BIG BRITISH TALKIE ] So much has been said and written 1 about the possibilities of England's I success in the talkie field, and, comparatively, so little achieved, that the pessimists might well be excused fot their gloomy forebodings. V ery much more than the success or failure of a single picture depended upon the presentation of the first all-Britisn talkie feature, and with Blackmail British International has exceeded the highest hopes entertained of the E si tree studio product. "Blackmail sho" * ’that England has not only profited l; the pro nee r work of other countries. I but sets a standard which will take some beating. For brilliance of treatment intelligent use of sound, music and dialogue, it equals the best seen while for purity of speech and diction in relation to characterisation it is unexcelled. This is the first talking film in " ne-li the camera treats sound and speed, as it lias hitherto treated the detail ot silent action. Snatches of conversation. bursts of laughter, traffic noises, and a piano and canary, even whispers, are recorded perfectly, Lava i,layer reveals a complete mastery of bis or her pari, and although the dialogue is sometimes irrelevan . it is . always interesting, and definitely contributes to the realistic atmosphere. Mr. Alfred Hitchcocks direction indicates that the *«mus that lurked , in his early silent films is likely lo flower magnificently in the talkie 1 j medium. He remembers that which '| so manv directors appear to have for • . gotten—that a photographed play is ! almost meaningless—even irritating . I while an audible version of a film ; ! directed with an eye to pictorial and , i action values is an achievement which [ ; Will gain the public s favour, and the I world’s admiration. I • Blackmail” will shortly be screened ‘ ■ in New Zealand.