ENTERTAINMENTS

Southland Times, Issue 20498, 29 May 1928, Page 5

ENTERTAINMENTS

POPULAR PICTURE? To-night will see the final screening oi the war classic ‘‘Armageddon” which attracted large audiences on Saturday and Monday. Much was written of the campaign in Palestine, but “Armageddon” is the first picture to depict the actual happenings of that momentous and historical engagement. The many hardships and silent deeds of heroism, in which the New Zealanders played a prominent part, cause a glow of pride as we watch this courageous army throughout its long and tedious march. The large audiences have greeted the picturt with the warmest admiration, and it is a cause of regret that it cannot be shown for a longer period. To-night will see the final screening and those who have not yet witnessed this memorable feature are advised to embrace this final opportunity. In addition to “Armageddon,” a thrilling drama “The Telephone Girl” is also shown with Madge Bellamy and an all-star cast, and last but not least “Fatty Hiers” in ‘Weak but Willing.” Seats may 'be reserve ed at the Bristol. “KING OF KINGS” AT THE CIVIC. A MAGNIFICENT PRODUCTION. Those who came out of the theatre last evening from the showing of the “King of Kings’ must have felt, if they had any feeling at all, that they were coming away from an inspired service. While the eternal story was being unfolded before them all other circumstances were forgotten and music and pictures blended into one unity, in which there was hardly a jarring note. When the first announcement ot the picture was made a tremendous stir was caused in the religious world. At first feeling was decidedly against it, but when the extract scenes were published the thinking public realized that whatever were the ulterior motives for the making of it, the picture was treated in a reverent and noble manner. Although it is true that the directors of the picture have not limited themserves strictly to the Biblical anecdotes or chronological order, in no way have unworthy or unlikely scenes been introduced. The wonderful opening scenes showing Mary Magdeiene among her palatial gardens, her swans and zebras, atone for their fiction by the wonderfully artistic settings and the quality of the tonal effects. The passion for spectacularism which is so often manifested by American producers has not been indulged in where it is not absolutely necessary to maintain the majesty of the subject, except in the scene where Christ gives up the ghost and the mountains quake and rend asunder. The facts as recorded do not coincide with a catachysm such as it is in the picture. The rest was characterized by wonderful good taste and quiet dignity. The characters of the disciples were portrayed faithfully as far as they could be reconstructed from the gospels. Simple Peter was there, the beloved John, Matthew the converted tax-gatherer and the ambitious Judas. The portrayal of the latter was a masterpiece of characterization of a very difficult subject and brought out both his good and bad points. As far as the more mechanical side of the picture is concerned, the photography is cimply superb. The scenes in the house of Mary of Magdala have already been mentioned, and the scene outside the tomb on that first Easter morning is regenerating—the white lilies, the doves and the women at the tomb present a perfect antithesis to the scenes of death and sorrow preceding. The portrayal of Christ Himself is the supreme consideration in the value of the picture, and it may be stated that of all the picture perhaps, the portrayal of Him is the most perfect. There did not seem to be a jarring note in the whole conception—based on the traditional pictures, The picture was artistically perfect while, whoever were the actors or whatever the reasons for the making of it as a picturization of the holy times, it could not offend the sensibilities of any true and unbigoted person. It is more than a picture—it is a sermon that will help many men and women as they might never be helped by mere words. MAJESTIC TO-NIGHT. LAST NIGHT OF “MILLIONAIRES,” ALSO “FIGHTING LOVE.’ ’ “Millionaires,” the Warner Bros.’ production, released by Master Pictures, featuring George Sidney, Louise Fazenda and Vera Gordon, closes to-night at the Majestic Theatre, which means that picturegoers are being offered a movie treat in this entertaining comedy-drama. Herman Raymaker has so skilfully and understandingly handled the direction of “Millionaires,” that even while you are laughing at the blunders of this East Side family suddenly come into wealth, you are sincerely sorry for their difficulties and mistakes in their attempt to bombard Fifth Avenue’s social circles. The supporting cast is an excellent one. Helene Costello and Arthur Lubin make a charming pair of young lovers; Jane Winton a fascinating modern Lorelei, and Nat Carr an amusing stock salesman. The picture, “Fighting Love,” also closing to-night at this theatre, is a romantic drama of love and intrigue ranging from the castles of nobility of Italy to the African desert, with Miss Goudal in the role of a young girl of the Italian aristocracy who, in order to escape marriage with the disreputable scion of a great family, Niccolini, whom she despises, accepts the hand of an aged soldier. Hardly has her marriage been consummated than her husband is summoned to Tripoli. Vittoria follows later, only to find that the general has gone into the desert at the head of his troops to quell an uprising of the .Arabs. When she discovers that this is only a ruse to get rid of her husband, Vittoria leaves Tripoli, accompanied by the handsome young adjutant to the general. From here the story moves to a swift and startling conclusion, in the course of which Vittoria and the adjutant are captured by the Arabs. When word is brought that the general is killed, Vittoria and her lover are married. “FLESH AND THE DEVIL.” MAJESTIC TO-MORROW. The Star, Christchurch, says: “Eloquent love-making, superb acting, glittering and gorgeous scenes and excellent production, all combine to make an epic film. ‘Flesh and the Devil’ is one of the best pictures that has ever come to Christchurch, and its initial screening at the Grand Theatre created a great impression with the large audience that witnessed it. The powerful story is taken from the novel ‘The Undying Past,’ by Herman Sudermann. The intensity of the drama, especially toward the end, when Leo belatedly discovers the soullessness of Felicitas behind the mask of her amazing beauty, has rarely been seen in motion pictures. . . . John Gilbert exhibits his brilliance to the full. His scenes with Greta Garbo are emotional and stirring. “GOURLAY” MUSICAL RECITAL. Messrs Charles Begg and Co. Ltd. are to be congratulated on the enterprise they have shown in arranging a “Gourlay” Musical Recital in the Victoria Hall this evening at 8 o’clock. Begg’s have been featuring recitals at their northern branches for many months, and these have proved so popular and successful, that they are visiting Invercargill for a similar purpose. It is seldom that such a varied musical programme is to be heard in one evening as that to be offered at the “Gourlay” recital. Two of Dunedin’s leading singers, Miss Winnie McPeak, contralto, and Mr Les. Dailey, tenor, are to be heard in some of the finest numbers of their repertoire. In addition Mi H. Le Gal, violinist, will play solos which are certain to please all present. Further pianoforte solos will be played on the “Gourlay,” and all accompaniments will be played on this wonderful instrument. The box plan is rapidly filling at Begg’s, and all those fond of music are urged to reserve their seats without delay. Admission is entirely free, and those w’ho attend are certain of an evening’s enjoyment