PLAZA THEATRE

Wanganui Chronicle, Volume 77, Issue 133, 7 June 1934, Page 10

PLAZA THEATRE

“LITTLE WOMEN.” Its old-time romantic atmosphere and its human qualities are important features of the film version of “ Little Women,” -which is now showing at the Plaza Theatre. The mental complex concerning love is very peculiar in the principal ‘ Tittle woman, ” and it takes a Katharine Hepburn to present this remarkable i/?m-boyish personality; but, in case it may be thought that the star outshines her company, let it be added that a quite new Joan Bennett is seen in another of the “little women”: in fact, both Katharine Hepburn’s “Jo” and Joan Bennett’s “Amy”’ are characterisations to be remembered. They are sisters, but so unlike, and yet so true to life. Prances Dee (“Meg”) and Jean Parker (“Beth”) appear as the other two of the four sisters; any one of these characterisations is a full-size job for a competent actress, and the fact that the four daughters of Mr. and Mrs. March are so brilliantly played lays the foundation for the complete success of the picture. Anyone who knows the story will realise that only the highest acting can carry it through on the screen. It is full of emotional scenes, of girls’ extravagances in sentiment, of illness and deathbeds, with due accompaniment of fervent prayer, fears, hopes, and tears; and in the hands of a weak cast “Little Women, ” instead of being the howling success that it is, might have become merely a successful howl. But on Saturday evening the big modern audience was completely gripped by this nineteenth century story as told on the screen, and took the girls to its heart. “Jo,” she of the complex, loves but cannot marry the rich “Laurie” (played by Douglas Montgomery) and in course‘ of time “Laurie” marries “Amy.” “Jo” does not mind the sister’s annexation of a man whom she (“Jo”) loved as a man but not as a husband; but “Jo” herself is travelling towards matrimony through the cultural appeal of “Fritz Bhaer,” a German professor who sings Goethe verse in German and then translates it into stronglyaccented English, phrasing just those sentiments that appeal to “Jo’s” peculiar heart. In this professor the audience finds a new Paul Lukas, and a very likeable one. The mother of the girls is another key part in the story, and is in the capable hands of Spring Byington. The painfully harsh “Aunt March,” whose satire is sharp as a rapier but often rough, gives Edna May Oliver a chance away from her usual burlesque, and she does it really well. To sum up —all that is said in praise of Miss Hepburn’s artistry is true, but she has a mighty good team with her. The. story is full of fragrance and the whole family could be asked to see it. There are good supports.