PLAZA

Sun (Auckland), Volume III, Issue 838, 5 December 1929, Page 16

PLAZA

“ON TRIAL”

Continued success attends the screening of the great court drama, "On Trial,” the talkie now at the Plaza Theatre. A great many remember “On Trial” as one of the smashing stage hits of its time, and one which was made so by the daring of its author, young Elmer Rice. In making use of one of the movies’ cherished effects, the flashback, It was the first stage play in which this effect was used, and Rice felt justified in borrowing it. inasmuch as the movies never hesitated to borrow what they wanted from the stage. Those who saw ‘‘On Trial” will recall how, when the heroine is placed on the stand in the courtroom, and asked to explain certain things, the scene shifts, showing her as a girl, and the temptations which bestrewed her path. Added to the strength of the story is the novelty of its treatment. Now it remains to be seen how much better use of the flashback the movies have made than did the stage, which laid violent hands on it. “On Trial” has a great cast. The heroine is played by Pauline Frederick, and the production is the means of her debut in the best part. Inasmuch as Miss Frederick has had considerable stage and screen experience in many great roles, this debut should give her little concern. Bert Lytell is another member of the cast, which includes Lois Wilson, Holmes Herbert, Richard Tucker, Jason Robards, Johnny Arthur, Vondell Harr, Franklin Pangborn, Edmund Breese, Edward Martindel, and Fred Kelsey. Archie L. Mayo directed.

The splendid budget of shorter films shown in addiiton to the main picture includes a Paramount Sound News, a sound cartoon, “A Moonlight Romance,” and a song by John Charles Thomas and Vivienne 'Sigel.

“The Mystic Mirror,” one of last year’s Ufa productions has made a very successful appearance in England. The deep impression which this picture has made on the audience has found its echo in the Press comments. “The Observer” considers this picture as “one of the Big Three shown in London during the summer season,” and stresses especially the “artistic work of Carl Hoffmann as a photographer as well as a director.” “Film Weekly” speaks of a rare film and says: “Rare films are always worth seeing both from an entertainment and a documentary point of view.” Also “The Nation” praises Carl Hoffmann: “His work in this, as in his other films, is original and full of ideas and imagination.”