“ROMEO AND JULIET”

Taranaki Central Press, Volume IV, Issue 449, 3 June 1937, Page 8

“ROMEO AND JULIET”

THE PICTURE OF THE YEAR Marvellous Attraction at The Plaza When one is asked to choose the picture thlit proved most satisfying in all the year, one pauses. When asked what is th e best, picture one has ever seen, there should be a much longer pause. Many fine, even splendid, productions come crowding, to the mind. Andi yet, after seeing “Romeo and Juliet, as th e writer has seen it in London, the hesitation is not prolonged. In this writer’s oinion, this if, the most beautiful film which Was come from the screen, It is unnecessary to say it ha.s one of the most exquisite love stories ever written for its foundation; it Was beauty and purity of diaJogue. The actual production., however, the human element, has proved so absolutely worthy of ShJakespeare. Norma diction matches in excellence that of Leslie Howard, John Barrymore, Basil Rathbone, and C. Aubrey Smith, and she succeeds {through sheer devotion to the part, through (the girlish innocence with which she clothes ” her adorable Juliet. It would be almost impossible to imagine anything finer than Barrymore in the deaith scen e of Mercutio. Here is not one atom of over-empha-sis; the gay spirit goes gaily—grandly, in fact. Howard’s Romeo grows in fascination with th e general enthralment of The Metro-Goldwyn.

Mayer film. There i&' so much ct movement land life, even of laughter, in this picture), which gives to the eye and the ear such true loveliness, such ineffable pathos.

“It Isn’t Done” Cinesound pioneered Australian sound motion pictures in 1931 with the production of “On Our Selection,’’ and has continued to set the standard in local films. Now, Cinesound, continuing their world production policy, presents, in their latest release, “It Isn't Done,” the first genuine all-star cast ever assembled in an Australian picture. And what a brilliant east it is. Sterling favourites of stage and screen, including Cecil Kellaway, Frank Harvey, John Longdenj Nellie Ferguson, Harvey Adams, Campbell Copelin and Sylvia Kellaway, together with Australia’s new star “discovery,” lovely Shirley Ann Richards, in a bright, breezy, modern comedy-romance that sweep you on the magic wings of entertainment from Australia to England. It will screen at the Plaza on Saturday of next week and th.e following Monday and Tuesday. Try to imagine the fun when a cheery, big-hearted Australian squatter Inherits an Earldom and takes London society by shorm, and you’ll have some small idea of the delights in “It Isn’t Done.” He broke every rule in the book of. etiquette, while his lovely daughter broke every male heart in the social register. “It Isn’t Done” .... but thby did it. And hoW

you’ l ! enjoy it! Leading English studios co-operated in the overseas sequences of “It Isn’t Done,” which marks another giant step forward in Australian production, with photography, settings, sound .direction, cast, performances, and, above all, entertainment value measuring right up to overseas standards. Directed by Australia’s “ace” director, Ken G. Hall, “It Isn’t Done” is ready and indeed worthy of the worlds applause! King’s Theatre. “White Fang” The lawless North-country, vibrant with romance. and> drenched with drama, once again flashes across the screen in “White Fang,” Jack London’s thrill-laden sequel to his “Call of the Wild," which is also at (he King's. Featuring lan exceptional cast, headed by Michael ’Whalen and Jean Muir, and including Slim Summerville, Charles Winninger, the original “Cap'n Henry” of radio fame, John Carradine, Jane Darweli and Thomas Beck, “White Fang” is a stirring story of adventure ranking with the screen’s greatest outdoor dramas. Whalen, fresh from triumphant roles in “Professional Soldier” and “The Country Doctor,” here has hit mosit ambitious part and gives promise of becoming on e o' the outstanding young men of the sereeu Jean Muir, lovelier than ever In a setting las picturesque as her own beauty, contributes a noteworthy performance while the remainder ot the cast is uniformly good. Slirjr Summerville and Charles Winninger, e specially, deserve mention for their hilarious comic characterisations. Tom Walls In “Pot Luck” Tom Walls, whose latest picture “Pot Luck” is coming to the King’s on Saturday and Monday, has been teen in many guises during his long career on the scr.een. This time, however, he surpasses himself when he visits an Art Gallery in his efforts to tlrack a gbng of art-trensure thieves, who are after a valuable Chinese vase.

He appears as a “grand o'.d man” heavily clad in. long grey bckird, sweeping grey hair and a lot of clothes. His voice, too, is altered and he speaks in a thin treble which completely deceives the thief w'ho is in the galleries hovering around the precious vase.

This filni is bubbling over with humour., yet it has its purely thrilling moments. There is (the car chase through the night when Jane are Reggie (Dilina Churchill and Ralph Lynn, of course) follow the thieves’ car and are led to a weird-looking abbey in the heart of the country. From that point ewcitemeit increases, until it reaches a grand climax when the inimitable Tom Walls, <as Detective Fitzpatrick, lays the •crooks low.