REGENT THEATRE

Wairarapa Times-Age, 17 April 1939, Page 2

REGENT THEATRE

“MARIE ANTOINETTE.” The packed audience at the Regent Theatre on Saturday night had placed before it one of the finest pieces of emotional acting ever recorded in connection with a motion picture —that of Norma Shearer as Marie Antoinette. The picture is presented on an elaborate scale and the scenes are for the most part historically true and gave one an excellent idea of what had occurred during the French revolution period as far as Marie Antoinette was concerned. Norma Shearer’s presentation was of a most brilliant character and demonstrated that today she stands out as one of the greatest actresses of all time in drama. She characterizes the whims, the changes in moods and the desperate search for happiness associated with the life of Marie Antoinette in the manner of a great actress. The portrayal of the character of the woman who was in some measure responsible for the revolution because of her arrogance and short-sightedness, her extravagance and contempt for the masses of the people and their sufferings, could only be given in sutfn a brilliant manner by an actress of such outstanding ability as Norma Shearer. The scene wherein Marie Antoinette parts with her son Louis Charles—the titular King of France, Louis XVII, who never reigned but who died in the Temple in 1795, two years after his mother and father were executed—called for powerful acting, and here again Norma Shearer scored another triumph. A superb presentation of the role of Louis XVI was given by Robert Morley. This young English actor presented Louis XVI as he really was—weak, stupid, Well meaning, utterly unsuited by his lethargy and lack of dignity to rule over France; a man who, however, but for the unfortunate influence of Marie Antoinette, might have died a peaceful death in a better France than that which his grandfather, Louis XV., left him. When Louis XVI desired to grant reforms it was Marie Antoinette who thwarted him, urged him to absolutism, spurned the policy of Mirabeau and Lafayette which was of a moderate character and had for its aim improving the lot of the people of France, particularly those of Paris. Difficult roles, both to act, Norma Shearer and Robert Morley rose to great heights in the scenes during the dark days of 1790 —93 which they portray together. Tyrone Power too, was very appealing in the part of the Swedish Count Axel le Fersen, whose attempt to rescue the Royal family finally ended in failure.. In the many touching scenes between le Fersen and Marie Antoinette Tyrone Power demonstrates his magnificefit acting abilities. The character of Louis XV —ruled for the most part by the notorious Madame de Pompadour and Madame du Barry (who lost her life on the scaffold about two months after Marie Antoinette) —was most capably undertaken by John Barrymore; he was the indolent, suspicious Louis to the life. The characters of Madame du Barry and the Duke of Orleans (who became popular in France because of his liberal ideas obtained while living in England, headed the receding nobles in the StatesGeneral, sat in the National Assembly, and as Citoyen Egalite. voted for the King’s death, but who himself, in Tinville’s reign of terror subsequently lost his own life on the scaffold, were excellently, portrayed by Gladys George and Joseph Schildkraut respectively. The picture may be summed up as an historical masterpiece providing much food for thought for the student and entertainment for the patron who judges a picture by its dramatic .appeal more than its historical value. There was an excellent supporting programme. The picture will be shown again tonight.