“Cleopatra” is Tremendous And Magnificent Spectacle

Manawatu Times, Volume 60, Issue 66, 20 March 1935, Page 5

“Cleopatra” is Tremendous And Magnificent Spectacle

(Ecgent: Screening Saturday Wecw.)

Though Cecil de Miile’s conception. of history, as manifested in “Cleopatra," is not conventional, no one who has seen this tremendous spectacle will deny tnat, rrom the entertainment point of view, it is a triumph of success.

"Cleopatra" is, before anything else, a revelation of the producer’s art, as demonstrated by Do Mille, to whom nothing is too lavish so long as nothing is ridiculous. Tho magnificence of this film is really awe-inspiring, but it always shows a nicety of balance between the story and properties, if such spectacles as are contained in this film can he called the result of a welding together of an incalculable number of properties into a breath-taking background. The story, in spite of the lavishness of its burnishings, is never in danger of being lost. "Cleopatra" is as much an'exceptionally powerful drama as it is an extraordinary spectacle.

For the sustained effect of tho story, tho film owes everything to a few actors and one actress. This last person is Claudette Colbert, but the identity of the players iu this film does not really matter. "Cleopatra" is not primarily a film to be seen for the chance it gives of seeing any one player in a new and extremely difficult role. "Cleopatra" is to be seen because it is, most of all, "Cleopatra.” While the film is being

screened thero will be very few persons who can interrupt their attention long enough to inquire ‘ ‘Who is playing Cleopatra?" “Who is Caesar?” “Mark Antony, which actor is ho?" This does not mean, however, that a consideration of tho merits of the players is of only secondary importance. Claudette Colbert surpasses anything else she has done. She, given a part —it is ready a film —well suited to her inferential acting ability, is first-rate. But the best tribute to her acting is the recognition, which will be general, that her name is not necessary to assist toward true appreciation of the film “Cleopatra." Tho most abiding memory of tho picture, of course, will be the remembrance of tlie tremendous magnificence, the almost incalculable lavishness, of the settings. They have to be seen to bo believed. Nothing is too big to be attempted, nothing too small to be forgotten. As a mirror of the glories of ancient Romo and of the glamours of old Egypt, this picture will givo universal satisfaction.

Nigel Bruce is tho first player signed for BKO Radio’s “She," based on the Rider Haggard novel and scheduled to go into production soon.

One scene lingers long in the mind for its restrained emotion. It is where Captain Vorisaka admits to his weeping wife that ho has deliberately encouraged her friendship with the British naval officer in the hopo that he would learn the officer’s report to the British Admiralty on the recent Japanese naval encounter. The knowledge that he has lost her love proves tho more bitter because in serving his country he has sacrificed his honour.

"Tho Battle" is emphatically not a purely naval subject. It possesses a particularly strong triangular theme and is a subtle essay in Eastern psycnology.

Tho realism of tho furious battle battle scenes and the prominence given to them might easily, in less skillful hands, have been permitted to dwarf the development of the emotional tenseness of tho story. But Farkas has not lost his sense of values for one instant. Tho war between lovo and duty, the conflict of national armaments, tho clash of temperaments and the struggle of racial prejudices—all arc woven with care and masterly skiil into this brilliant picco of sereen-craft. “The Battle" is emphatically a great pic* ture.