“FROM THE MANGER TO THE CROSS.”

Stratford Evening Post, Volume XXXIV, Issue 88, 9 December 1912, Page 5

“FROM THE MANGER TO THE CROSS.”

MOVING PICTURE OF THE LIFE OF CFUilbl . A DOUBTFUL SHOW. (Sydney Daily Telegraph.) London, October 25. “Is nothing sacred to the film-mak-er?” asks tue Daily -Uail in oig Headlines. Hie question arises m connec-

tion with a ser.es ot cinematograph lilrns depicting tne life-story ot Bnrisc, trom Bethlehem to Caivary, widen is now being exhibited in Bondon. there are live aims in all, making up tins storv, “From the Manger to tae Cross.” the first, beginning witn' the Annunciation ot the \ irgm, cleats with the story of the birth of Christ, and the journey of the Magi to Becn-j letieni, Jed by the star in the East.! The second part portrays the h*;nt| into Egypt, and tne boyhood ot our Lord. In the third part the disciples are called on the shores of the Lake of Gallilee, and several of the m.racks in the Gospel story, including that ol the marriage feast at Cana, are portrayed. The fourth part opens with the triumphal entry into Jerusalem, followed by the events leading up to! and including the Last Supper ana the; betrayal by Judas. The last part sets forth the trial before Pilate, tne: scourging of Christ, and His mockery by the soldiers, and ends with the last scene on Calvary. The films are the property of the Kalem Company, and) they state that they have spent nearly] £20,000 in obtaining them. The company sent out to Palestine 42 actors and actresses equipped with stage properties and effects, and they were away for four months. Much stress is laid on the accuracy of the surroundings of the scones depicted. The| actors and actresses began at Bethlehem, where they fixed up a stage manger, and from there they went through) the leading incidents in the life'of, Christ, visiting the places at which j these incidents occurred, and winding up with the tragedy on Calvary, where, the sacred spot was roped off from, the spectators while the actors carried out their rehearsals.

THE COMPANY IN DOUBT. The Kalem Co. is in some doubt as to how the films will be received by the religions community, and it is taking precautionary steps with the object of enlisting support, especially from the clergy. _ The first exhibition of the films, which took place at the Queen’s Hall, was of a private character, the audience, which consisted of about 2000 people, being present by invitation. The greater portion of the audience consisted of clergymen and their wives, and men and women who took a more or less active part in church work. A preliminary statement was made by an official of tne company, in which, after detailing tne trouble and expense the company had tronc to in order that the pictures might faithfully reproduce the surroundings of the incidents presented, declared that the company had carried out the work in a reverential spirit. As evidence that the company was not actuated purely by cnMini creial motives, be stated that it had no intention of selling copies of the films broadcast throughout the world, to be reproduced at any picture palace. Only a few copies of the films would be printed, and it would he a condition of purchase that they should lie produced only in surroundings • where a reverential treatment was possnne. No film of a secular character would iie permitted to he shown at the same performance, and no music.' or ciiteitainment other than of a religious kind would be allowed.

RELIGION AND MELODRAMA. But it is not contended even by the; Kalem Company that, if it can arouse the interest of the religions community in these moving pictures portraying the life of Christ, the company’s en-' terprise in obtaining the films will prove other than very profitable indeed. It is too early at present to say what the attitude of church-goers ( will lie to the pictures; but, although; a large number of the clergy wnoj were present at the first exhibition of j them have expressed their approval, 1 the sentiment aroused in the minds of # others is one of disgust. Some! damaging criticisms have been passed' on the pictures, and' the Daily Mail seems to be preparing to lead a crusade against them. it is stated that it is impossible to impart any dignity into a cinematograph film, as tlie cinematograph actor, depending wholly on gestures to convey his meaning,! intensifies the theatrical mannerisms to such an extent as to make himself ridiculous. Many of the scenes ,deal with the miracles performed by Jesus, but the cinematograph has built up such a reputation for the marellous,! by means of “faking” pictures, that the miracles of our Lord, when presented on the film, are robbed of all impressiveness. It is doubtful if it will add to anyone’s reverence for the Scriptures to witness a picture of) Christ walking on the water when he knows that the effect has been produced by what is calked a “double photography.” The appeal of the picture palace is not to a very high standard of intelligence,. and in obtaining films depicting the life of Christ, the Kalem Company has been careful not to aim over the heads of picture palace patrons. Much of the story of “From the Manger to the Cross”* is on the lines of melo-| drama. Judas is the villain of the] piece, and he plays the part like the villain of melodrama, so that even the crudest intelligence cannot fail to identify him. The high priests rub their hands together like the low-class Jews of melodrama. The scene in the temple, where Christ expels the money changers, falls little short of buffoonery, because of the wild rush and crude antics of the actors. There is no comparison between the Passion Play which impresses those who witness it, but the actoi's in the picture films, deprived of the opportunity of conveying their meaning by speech, have depended on exaggerated gestures and theatrical poses.