Cinema Quarterly (1934 - 1935)

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Noel-Noel and Fernandel are the aviators. Noel-Noel is a newcomer here. He is short, stocky, and specialises in button-eyed innocence. Those who saw Le Rosier de Madame Husson will not have forgotten the inspired lunacy of Fernandel, and he is exceedingly effective in Skylark. The denizens of Mayfair were also entertained by another arm-chair film in Farewell, an elegant and admittedly inaccurate story of Chopin's life. It is a polished piece of work with some pleasant music, and a number of Chopin's illustrious contemporaries are more or less convincingly represented. Entertaining, engaging and slick, but no landmark. Those who read Vicki Baum's "Martin's Summer" must have been struck by its filmic possibilities. It has been filmed under the title Lac aux Dames, and duly shown in London. But it never properly gets to grips with the story, and a great deal more might have been made of the scenic background. Nevertheless, it succeeds in being reasonably entertaining, and Simone Simon, who plays the part of Puck, is most enchanting. For her sake alone the film should be seen. The faults lie in the scenario and direction, both of which are ponderous and out of tune with the basic story. The London Film Society showed an interesting Polish film, Sabra, in which all the players are members of the Habima, the national theatre of Palestine. The theme is the colonisation of Palestine, and the film shows a group of pioneers fighting against the difficulty of obtaining water for the fertilisation of the land. The acting, as one might expect, is exceptionally good without being markedly theatrical, and the direction is firm and convincing. Much of the photography is excellent, and although the film runs to length and some of the episodes appear to be obscurely related to the context, as a whole it is a vigorous and refreshing piece of work. The Old King and the Young King is magnificent. Jannings makes a triumphant and convincing return to the screen in a film after his own heart. It is the traditional, authentic Jannings, and how pleasant it is to find that he has lost none of his fire — and none of his mannerisms— during a long absence from the screen. The story is of the conflict between Frederick I of Prussia, the great soldier and statesman, and his son the Crown Prince, who is bored by soldiering and diplomacy, preferring his flute and the card-table. Frederick loves his Prussia, and is afraid lest his son should undo all his good work when he becomes king. So he determines to change his son's character, and the conflict which ensues is brilliantly depicted. Jannings dominates the film from beginning to end, without blurring the individuality of any of the other players. Werner Hinz, as the Crown Prince, is particularly effective, and the first great quarrel between him and his father is one of the most exciting things seen 180