GRAND OPERATIONS

Radio Record, 22 April 1938, Page 27

GRAND OPERATIONS

— And One Was Graceless

HEN I saw Grace Moore swing her hips (well, nearly) to the tune of "Minnie the Moocher" in "When You’re In Love," 1 had the sudden hope that the great singer was also going to prove a good actress. But, alas, for human expectation! So far as Miss Moore’s acting goes, her latest Columbia film, "I’ll Take Romance," is way back in the days of "New Moon," long before she started that puzzling habit

of putting the word "love" in all her film titles, thereby making it so hard to remember which is which. It seems unfortunate that the only

one of her recent pictures "™"™ with a name to stick in my memory is fated to recall for me 2 Grace Moore who actually graces it less, Too Much Say HAT is the cause of this deterioration in Miss Moore’s performance I could not quite decide. Kither it was poor direction, or else Edward II. Griffith is a weak man who allowed his own opinions-to he over-borne by those of the star herself. "T’ll Taixe Romance" reveals suspicious signs that

the leading lad» had far too much say in its production. Throughout the film there was un nnicomfortable vestraint in the comedy scenes, which slowed them ub fatally. And Miss Moore moved through them about £3 heavily as a diver in his swim snit. In short, "I'l Take Romance" has inade me fear that unless Grace Moore takes a pull on herself and submits ro directorial orders with better skill, she is doomed to go slipping down the ladder of fame, She seems to be vet-=

ting a bit too big for her boots-not to mention her frocks, OR does the canker stop with Miss Moore. Tall Melvyn Douglas, neyer less than competent althongh he may lack the personality of top-rank-ing sturs-is here palpably il] at ease, His pretended adoration. for sharptongued and elderly Helen Westley ‘ang more sincerely than his tete-a-tete -conversations with Miss. Moore, -And-he did the-last-scenes-of courting with so little fire that I caught myself yvondering whether he was meant fo

be still only playing at romance, If ever a film told.a tale of storms on, the set, that film is "I'll Take Romunce," The proof is not only the coolness and rather stilted formality of the two stars, but the regularity with which acting honours are stolen from them by. the featured playersparticularly Stuart Erwin and Mare gauret Hamilton in the roles of Douglas’s friend and Miss Moore’s -maid. Musie Excellent

UT enough of the critic’s disappointment, since this picture is not likely to make half so bad an impression upon the public as if did upon me. I cannot see it doing as happily as that vem

of musicals, "When You're in Love," but it will no doubt make its own way. In the first place, the musi¢ is excellent and fits into the plot quite naturally. Grace Moore’s duet with Frank Forest in a "Madame Butterfly’ aria is far and away the best bit of film opera I have heard; nor have I any complaint to bring against’ the drinking song of "La Traviata," the excerpt from "Martha," or the gayoite from "Manon." . -- -The-theme. song itself. although. ¢omposed in a wistful minor key which might prejudice its chances of popular-

a Two Kinds of Prima Donna

ity with a public used to "blue" music, is nevertheless a charming little piece. The only song I regretted was "Coming Round the Mountain." which awaken#d nostalgic longings for my dear "Minnie the Moocher." The second virtue of "I'll Take Romance" is the dialogue-neat, a little risque and very brisk, Plot Good IRDLY, the plot was quite as good as most of these musical pegs-though possibly a little overburdened with kidnapping. It was all about a man who went to New York to persuade an opera singer to fulfil her contract in Buenos Aires rather than take a better one, offered later, in Paris, He tried the gentle approach to snare the prey, and pre tended to be in love with her, ending up in the embarrassing situation of having her love him, An interfering aunt of the singer exposed his romantie deception, however, and then, of course, when he was out of favour, the perverse fellow discovered himself really in love, That was where the kidnapping-which should have been burlesqued and was not-came in so prominently, On the whole, "I’ll Take Romance" is amusing entertainment and yer y rich food for music-lovers-eyen though as a film of major importance, [ think, it misses surprisingly badly. ("Pll Take Romance." Columbian, Directed by Kdward 2, Griffith, starring Grace Moore. Melvyn Douglas. Auckland and Dunedin. April 29.) And Now, Miss Pons FTER Grace Moore's latest, we come to Lily Pons’s new picture, "Hitting a New High," and let me say at once that no disparagement is

intended by the order in which they are reviewed. It is, indeed, difficult to produce ans parallel between these two stars, apart from the fact that both sing opera. We are told that Miss Moore tnrkes her art very seriously while on the setprobably too seriously-and off the set I can imagine her as a prissy sort of person who'd be likely to teach Sunday school and sing in the choir as a graceful gesture. By the same token, petite Mademoiselle Pons would probably go bird-nesting. In "IJitting a New High," Mlle. Pons appears for a large part of the time dressed in nothing but a few ounces of ostrich feathers in the necessary

places. Can you imagine the Moore doing that? Hardly! Lilyponsian N this subject of the Pons unorthodoxy a good story is told. During the production of "Hitting a New High," Lily (dressed in her ostrich feathers) was sitting on top of a grand piano singing an operatic number, when the studio was visited by Pietro Cimini, noted conductor of symphony orchestras and a great upholder of the dignity of grand opera. He was horrified and disgusted by What met his gaze. "Putting opera into tights is unnecessary and undigunified,’ he protested. But he could not ruffle the Lilyponsian feathers. "I’m not wearing tights," she replied. "This is sunburn powder !" The Bird Girl HAT story, true or not, seems to me to be typical of the spirit in which the films of Lily. Pons are made. Nearly every screen play about an opera singer, of course, has the same basic theme-the struggle for recognition and fame-but Miss Pons and _ her studio (R.K.O. Radio) go out of their way to cover up its triteness. They don’t mind sacrificing most of the propriety of opera for the sake of fun and freshness. They don’t always succeed, but at least they make the attempt. For instance, in "Hitting a New High," Lily is just a Parisian carbaret singer with an urge to do something bigger, but Edward Everett Horton, wealthy patron of the arts, won’t even listen to such a common type of entertainer. Whereupon Lily makes her attack from another angle. Horton mixes opera-sponsoring with big-game hunting (of a sort), so Lily the singer dons feathers and becomes Oongahunga the Bird Girl. As such ghe is "discovered" by Horton twittering away to herself in the heart of an African jungle, having been planted there by Press-Agent Jack Oakie. The only language she speaks consists of trills and quavers, which nevertheless sound remarkably like words when you become used to them. Overjoyed by discovering this rare creature, and realising that a Bird Girl in the hand is worth two in the jungle,

Horton takes Oongahunga back to New York to train her twitterings for grand opera. So by a devious route is ambition realised. Just Like Tarzan! OME of you may think this a silly story, but it appealed to me as a good joke. And it is a joke with several comical side-issues-notably the unexpected appearance of blackmailing Erie Blore, posing as the Bird Girl's seafaring father. who claims his "daughter" was Jost as uw baby and

brought up in the jungle by the birds -just like Tarzan. Of course, Oongahunga and PressAgenr Oakie cn’t deny it or expose him, Tinny In Jazz TJKE most long-winded jokes, ‘"Hitjing a New High" falls flat in places, especially toward the end. But, ulthough to this extent the film is not withont its disappointment. I take issne With those critics who have jumped at the obvious pun and declared thar "Hitting a New High" hits a new low. Lily Pons lets her operatic hair down snd plays at being a Bird Girl for atl she is worth. To my mind, she’s yo beanty. but she has definite talent asa comedienne, She's 2a prima donna without any accent on the "prim." As for her singing, I enjoyed her few operatie seqnences-they include the mad scene from "Lucia di Lammer-moor’-much better than her jazz numbers. Her voice in jazz is mtallie, , IIorion isn't quite up to his nsnal standard in this picture; but gross Jack Oakie goes through his familiar paces as amusingly as ever, TI like an netor who so obviously thinks if's great fun being an actor, ["Hitting a New High." RKO Radin, Directed by Raoul Walsh. starring Lily Pons, Jack Oakie, K. EK. Horton, John Howard, Just reJeased.]

Japanese Film Wat is almost certainly the first all-Japanese picture to have been brought to New Zealand was screened privately in Wellington last week. Made about three years ago, it is "The 26 Japanese Martyrs." and is based on the actual martyrdom of 26 Romau Catholics, including the Franciscan Father Batista, in Japan in the 16th century. The Rt. Rey. Dr. J. Ross, a German Jesuit, and vicar apostolic of Hiroshima, has brought the film to New Zealand in connection with the raising of funds for his mission, There is just one small scene in the fibn in which Dr. Ross himself appea:s. blessing the first Christian church in Japan, but apart from this the film has been produced and acted entirely hy Japanese, and it is said that for uatural acting it has not been surpassed by anything previously seen in this country. At the time of first release. ubout three years ago, the film was widely reviewed and, quite apart from the religious aspect. was most highly praised by overseas critics as an artistic masterpiece. There is a musical backgronud, and uv running commentary in English, "Cloistered"’ ANOTHER picture unique in the film world is "Cloistered," which wiil soon begin its tour of New Zealand. All those who take part are nuns. in this film, hundreds of years of mystery surrounding life in a ceonyent is revealed for the first time. Stephen Woolcott. the noted critic. wrote of this picture: ‘ ‘Cloistered’ is us beautiful and dramatie a piece of theatre as could be found anywhere. It is amazing, unusual and strangely beautiful. I came into the preview smoking my pipe, but found myself uncousciously removing my pipe in the presence of such gq minor miracle," Four Men ‘PHE four leading male roles’ in "Four Men and a Prayer," the 20th Century-Fox picture in which Loretta Young plays the feminine stellar role, have been assigned to George Sanders. William Henry, Reginald Denny and David Niven. The picture is based upon the magazine story by David Garth. Obedient Husband AX NABELLA’S extraordinary agreement with her husband, Jean Murat, has made her one of the most popular foreign film stars in Hollywood, So that her English accent shan’t suffer from talking French in the home, Murat stays away from Annabella as long as she is working on a picture in English. He set off on a round-the-world trip intending to meet Annabella in Hollywood, The last news of him was from Singapore, where he was waiting for her orders to start for Hollywood. As she had not long begun work on "The Baroness and the Butler." Murat still had several weeks to wait. But othér Hollywood producers, who haye to find studio jobs for the devoted husbands of their Continental stars. are envying Twentieth Century-Fox their Annabella,