DRAW FASHION MODEL SKETCHES

Espionage and contre espionage are dealt with effectively in "Mata Hari," a glamourous and romantic conception of the latter days of the life of the Dutch dancer and courtesan who was shot as a spy by the French in 1917. In this beautifully staged and ably directed production, which is now on view at the Capitol, the alluring Greta Garbo delivers another brilliant portrayal, and among others who serve this offering with marked distinction are Lionel Barrymore, Ramon Novarro and C. Henry Gordon.

Miss Garbo may not be any more like Mata Hari, whose real name was Margaret Zelle MacLeod, than the film narrative is like an authentic account of the spy's career. There is, however, in the skillfully arranged series of incidents enough truth to make a most compelling melodrama.

George Fitzmaurice, the director, has told his story in an intelligent and restrained fashion. He avoids anything gruesome at the end by revealing in an opening scene the penalty of spying in wartime. Miss Garbo's interpretation of her rôle is a definite characterization in which she reflects something of the nature of the dancer and sqy. This Mata Hari, a name which in Hindustani means "Eye of the Dawn," is an independent person who lets Andriani, the head of the German agents in the French capital, know her mind. Like the real Mata Hari, she is a woman of unusual intelligence, who, while she revels in the secret service work, chooses to be her own mistress and thus generally accomplishes more than she might have done by adhering to Andriani's orders.

Mata Hari is a seductive creature who is so attractive and fascinating that men, young and elderly, are hypnotized by her charms. And after all, the original of the story was the mistress of more than one statesman, so there is every excuse in this film for making her the amoureuse of the Russian military attaché in Paris, General Shubin, out of whom she wheedles valuable information.

Lieutenant Alexis Rosanoff, a Russian flier, played by Mr. Novarro, quickly falls in love with Mata Hari. He is careful not to say that he has just flown all the way from Russia, but he is careless when he is entrusted with a coded letter, which Mata Hari arranges to have "borrowed" from a table in his apartment.

Throughout this story there is the diligent and persistent Dubois (Mr. Gordon), who is certain from the very beginning that Mata Hari is in Paris for no good purpose and that her affairs with officers are chiefly to gain information on French military moves for the enemy. He invades General Shubin's home just before the Russian is to enjoy a teęte-ŕ-tęte dinner with the dancer and tells Shubin of his belief. The Russian scoffs at the idea and when Mata Hari arrives she is not dismayed when she is told why Dubois is there.

In the end this dancer, who is beheld in one sequence going through one of her peculiar dances, like a bayadčre, discovers that she is herself in love with young Rosanoff, who never suspects that the dancer is a spy. Even after she has been convicted and is sentenced to face a firing squad, he, blinded through an accident caused by her treachery, believes when he goes to the prison that he is calling upon her in a sanitarium.

Mr. Novarro is capital as the impetuous flier. Lionel Barrymore leaves no stone unturned to get the most out of the rôle of General Shubin. Lewis Stone is quite good as Andriani, who thinks little of having one of his agents put to death so as to prevent them disclosing secrets, the revelation of which would make Paris too hot for him. Mr. Gordon is most convincing as Dubois and Alec B Francis is earnest as Mata Hari's zealous counsel during her trial. Helen Jerome Eddy, Frank Reicher, Karen Morley and Blanche Frederici contribute in their way to the success of this picture.

MATA HARI, based on a story arranged by Benjamin Glazer and Leo Birinski; directed by George Fitzmaurice; a Metro-Goldwyn-Mayer production. At the Capitol Theatre.

Mata Hari . . . . . Greta Garbo
Lieutenant Alexis Rosanoff . . . . . Ramon Novarro
General Shubin . . . . . Lionel Barrymore
Andriani . . . . . Lewis Stone
Dubois . . . . . C. Henry Gordon
Carlotta . . . . . Karen Morley
Caron . . . . . Alec B. Francis
Sister Angelica . . . . . Blanche Frederici
Warden . . . . . Edmund Breese
Sister Genevieve . . . . . Helen Jerome Eddy
The Cookspy . . . . . Frank Reicher

MORDAUNT HALL New York Times 1 January 1932

A real compendium of information focusing on the "hip" for those who want to reminisce or those who never quite made it and would like to know what might have been like.
A few elements of the bygone era are still extant, but on the whole one has to admit that every dog had its day: currently King's Rd is less exciting than it used to be and the downturn took its toll: between Sloane Square and Land's End there are just six pubs, eh... perhaps five because the sixth one had become a wine bar... the girls there in did not even know what happened to the former minuscule theatre which once made the venue so special...

As for the fashion boutiques... forget it - you'll probably be better in Soho or Covent Garden!