“DISRAELI”

Sun (Auckland), Volume IV, Issue 974, 17 May 1930, Page 14

“DISRAELI”

BRILLIANT DRAMATIC CLASSIC GEORGE ARLISS EXCELLS Benjamin Disraeli—dandy, wit, author, politician, statesman, master strategist, a Victorian of the Victorians. One of the most fascinating figures in history has been recreated in a living, vital, and brilliant talking screen portrayal by a master of dramatic art. He appears in “Disraeli,” which was shown at the St. James Theatre last evening with George Arliss in the leading role. Mr. Arliss is a great actor. There is a power and subtlety to his interpretations that is amazing. To watch him in the role of Disraeli, the remarkable Jew who became Prime Minister of England, is to know the thrill of witnessing something that is only too rare, and to thrill again to romance of Britain’s Imperial history. To say that the film is brilliant, that George Arliss’s performance is perfection, is a bald statement. It was a joy to sit through, especially with a big audience appreciating the elegant language, beautifully spoken, appreciating character, appreciating dramatic situation.

The whole picture is a cameo in a most artistic setting. The story is taken from certain dramatic incidents in Disraeli’s reign as Prime Minister, particularly those leading up to his securing control of the Suez Canal by his own intiative and resourcefulness. He is shown, in the face of scoffing and ridicule by his opponents, and intrigue by powerful banking interests, acquiring the Suez Canal for England, outwitting Imperial Russia, consolidating the position of England in India and the East, and crowning his work by making “Queen Victoria “Empress of India.” Woven through this plot of diplomacy is a charming love story by the two juvenile leads. HISTORY DIFFERS.

The story has, naturally enough, been dramatised, and so differs a little from the history books of the period. But whatever one may think of this —and certainly the story gains in dra* matic sense—there can be no two opinions about the performance of George Arliss. It is undoubtedly the screen’s greatest feat of pure histrionics, not less so because it marks the passing of the old tradition. What an actor he is! Each shading of the character is so finely etched, so superbly interpreted, that one holds one’s breath at the beauty and power of his work.

The film itself is a thing of beauty —intelligently directed, admirably acted by every member of the cast, beautifully photographed, magnificent as, to costumes and settings, dignified in manner, but dramatically moving. Although Arliss dominates the picture by his superlative work and perfect diction, he is most capably supported by an efficient cast. Particularly well chosen is Joan Bennett as Lady Clarrisa, Anthony Bushnell as Viscount Deeford, David Torrence as Lord Probert, and, perhaps, best of all, Florence Arliss, George Arliss’s wife, in the role of Lady Beaconslleld. One is apt to forget that there were other items on the St. James programme last evening. These included the overture, “Morning, Noon, and Night” (von Suppe), by the famous Vitaphone Orchestra; one or two comedy sketches; and two Schubert songs by Charles Uackett.

And a final word. Everyone in Auckland simply must see this really fine production. There are not many actors like Mr. Arliss, and fewer pictures like “Disraeli.”