MAJESTIC

Sun (Auckland), Volume III, Issue 833, 29 November 1929, Page 17

MAJESTIC

“SMILING IRISH EYES” A cast marked by the presence of both quality and quantity in unusually la.rge proportions appears in Colleen Moore’s first talking and singing picture. “Smiling Irish Eyes,” which comes to the Majestic Theatre today. Undoubtedly, more accomplished players are seen in this First Xational Vitaphone special than in any talking picture 3*et produced. An immense fair was photographed and recorded from so many different angles that producer John McCormick required over 900 people, capable of playing effectively before both camera and microphone, in ■ or der to represent properly this interColleen Moore esting l portion of “Smiling Irish Eyes.” Thus has the popularity of talking pictures placed a larger premium on talent, and all but eliminated the “extra” players incapable of giving interesting characterisations. Colleen Moore is ideally suited for the role she portrays in “Smiling Irish Eyes,” in which she enacts a sparkling Irish girl. Both by personality and dramatic talent is she equipped for a realistic character, while she acquired a delightful brogue to make her portrayal all the mare convincing. She both sings and talks in this Irish romance. ‘ Opposite Miss Moore in the male lead is James Hall, whose engaging smile and excellent voice combine with splendid ability to make his characterisation effective. Like Colleen, he sings several melodies in “Smiling Irish Eyes.” Two humorous portrayals contribute generously to the comedy of the picture, due to the excellent work of the actors in the parts, Claude Gillingwater and Robert Homans. As two quarrelsome old Irishmen, these excellent comedians provoke laughter whenever they appear on the screen. Aggie Herring, typically Irish in appearance, is given an opportunity of which she takes full advantage in her character as an old Irish grandmother. Her humorously philosophical remarks punctuate the story delightfully. This evening’s new programme will also include a number of specially selected shorter talking and singing featurettes. Richard Arlen’s first starring vehicle for Paramount, “The Lost God,” recently went into production at the Hollywood studios. The star is ably supported by Mary Brian, Eugene Pnllette and Fred Kohler. William Wellman is directing.