MAJESTIC

Sun (Auckland), Volume I, Issue 207, 21 November 1927, Page 15

MAJESTIC

“FLESH AND THE DEVIL”

Screen adaptations of great literary works are not always the success that lovers of literature might wish them to be. Too often the vital spirit of the work is lost, and the husk remaining is far from pleasing. To make the translation from one medium to the other thoroughly satisfying" demands an infusion that filfiis producers are, for the most part, too indolent to make. But on the rare occasions when the besetting difficulties are overcome, there is immense joy in store for the picture lovers. Rarely, if ever, has there been a finer example of the screen adapter’s art than “Flesh and the Devil,” a Me-tro-Goldwyn-Mayer production which is attracting big audiences to the Majestic Theatre- this week. The basis of the story is Hermann Sudermann’s “Undying Past,” a novel giving a colourful picture of social life in Germany in the days before the war. The plot is an old one, but in its new form it is invested with overpowering tragic import. It tells of the misery and evil that may be brought into innocent lives through the machinations of a beautiful but evil woman, who is prepared to lure others to immense sacrifice that her own errant passions might be appeased. A young soldier is her first fancy, and even when his infatuation is complete the woman does not tell him of her husband. Later, the husband learns all, and in the duel that follows he is killed. Sent out on colonial military service the . lover leaves the woman in care of a friend, and as the weary years pass by, the woman grows tired of her indefinite amatory status, and marries the friend. Then, when the lover returns from exile, the woman plans infidelity to her second husband, with the result that lifelong friends are brought to the duelling field. The woman’s sudden death, however, prevents the final impending calamity. “Flesh and the Devil” is one of the finest screen tragedies yet produced. It moves along with the inevitableness of tragedy, and yet its greatest tragic moments are suggestions rather than depictions. This is art at its best. Greta Garbo, a Swedish actress, gave a magnificent study of a sensual woman. Alluring and dishonourable, she was the incarnation of feminine evil. As a character study it was a matchless effort. Lars Hanson and John Gilbert, who played the parts of the friends, did superb work. The supporting picture programme is full of interest. The Majestic News contains pictures of strong topical interest. while lighter diversion is given by a good comedy. An attractive feature of the musical programme is the appearance of Kamo, descried as “the wiz£f?d of the* banjomandolin.” This talented musician plays several popular numbers, and also includes in the programme an impersonation of the Scottish pipers. The Majestic Orchestra, conducted by Mr. Whiteford-Waugh, has become an Auckland institution. ( Its programmes are always looked forward to with pleasant anticipation by Majestic patrons. The orchestra opens this programme with a bright, snappy musical introduction. An interlude is provided by Mr. Rex Wills and Mr. Len Jury, who play the delightful cornet duet, “Ida and Dotte,” with an orchestral accompaniment. Other musical gems included in the programme are “Chansonette” (Baron), “Echoes de la Foret” (Tapp), “Divertissement” (Filippucci), “Canzonetta” (Tschaikowsky), “Andante” from sth Symphony, “Schumann Song Suite” and "For Ever and Ever” (Tosti).