MYSTERY OF LUDWIG KRANZ

Sun (Auckland), Volume IV, Issue 957, 28 April 1930, Page 15

MYSTERY OF LUDWIG KRANZ

CIVIC’S THRILLING TALKIE “SUCH MEN ARE DANGEROUS” A film which has the unusual distinction of combining a strong plot, crystal-clear dialogue, subtlety, and amazingly accurate characterisations by every member of the cast, heads the splendid programme presented at the Civic Theatre on Saturday evening. This is “Such Men are Dangerous.” from the facile pen of Elinor Glyn. It is a modern story having for its central theme an incident which actually happened in England a year or two ago, made the more engrossing through tho medium of the talking screen and of a most competent cast. Presented with the brilliant musical entertainment one always gets at the Civic, it made a thoroughly enjoyable evening. “Such Men are Dangerous” is a new setting for the old tale of Beauty and the Beast, or of love versus wealth. Eleanor was a charmingly sweet English girl flustered in to marriage with the enormously wealthy Ludwig Kranz. Although he loads her with expensive gifts, she is repulsed by his cold heart and ugly face and runs away on her wedding night. Kranz schemes a deep revenge. He disappears from an airplane crossing the English Channel and. though given up for dead by his friends, undergoes a marvellous facial operation. Then, as the handsome Pierre Villard, he arranges to meet Mrs. Kranz, win her love, then desert her as she had deserted him. Such a plot depends almost entirely on the acting ability of the principals, and it says much for the brilliant acting of Warner Baxter and Catherine Dale Owen that the whole picture goes so well. Each is very natural in every scene. Miss Owen is a newcomer from the stage, a frail blonde beauty; Warner Baxter, always to be depended on for an excellent portrayal, is as repulsive as Ludwig Kranz as he is suave and fascinating as Pierre Villard. The supporting roles are equally well filled. Claude Allister, the inimitable Spoofy of “Three Live Ghosts,” and Algy of “Bulldog Drummond,” had the unusual distinction on Saturday evening of being applauded by the audience when he first appeared on the screen. His latest role of Freddie Wyndham, heir to a title, debonair, slightly henpecked and somewhat fatuous, should enhance his reputation as an actor. Hedda Hopper is the worldly Muriel Wyndham, sister of Mrs. Kranz, and Albert Conti an admirable secretary. An outstanding feature of this picture is the original and most interesting settings and backgrounds. The audience follows the full ceremony of a choral wedding in an English cathedral, with all London society present. Then there are some remarkable aerial views over London, showing thp Tower Bridge, the Thames, and other metropolitan views, as the passenger in the airplane opens the door. In every respect this film is completely satisfying. An exceptionally fine musical programme is presented by Ted Henkel and liis talented orchestra and by Fred Scholl, organist. For the overture the orchestra gave a brilliant interpretation of von Suppe’s “Die Schone Galatea.” At the introductory musical session from 7.30 to 8 p.m., the orchestra played selections from "Tannhauser." Firefly.” “Southern Rhapsody” and other pieces. All were warmly ap-