“KING OF KINGS”

Sun (Auckland), Volume I, Issue 260, 24 January 1928, Page 15

“KING OF KINGS”

A DE MILLE PRODUCTION

THE TRAGEDY OF TRAGEDIES A PRIVATE SCREENING A scene in which vice is presented in its most delectable form on a scale only encountered among Eastern potentates, but in a form easily comprehended by the multitude, serves as an introduction to Cecil dq Mille’s life of Christ—"‘The King of Kings.” A full house responded to First National’s invitation to view a private screening of the much-discussed production at the Tivoli Theatre yesterday afternoon. Among those present were clerical representatives of the different demoninations in Auckland. Mr. Howard Moody and his orchestra interpreted a special score. MARY MAGDALENE Mary the Magdalene is, according to the de Mille version, placed in a position of importance in th€»- film which the Scriptures do not suggest. Apart from the Christ himself, she is the cen-

tral figure; emphatically so, in the gor-geously-coloured introduction to the story of a Carpenter Who suffered thfc death of a felon on the Mount of Calvary. When one of her ancient admirers attempts to placate this wilful Mary, she smacks his face. His companions in debauchery laugh to see this old man sprawling on the floor. The woman of Magdala is annoyed because Judas Iscariot, a more youthful lover, has been enticed away by this humble Carpenter. . . . The haughty wench calls for her chariot, the beplumed zebras of which had been presented to her by the King of Nubia. Hand upraised, and nose tilted at an angle of 45 degrees, she sets forth behind her prancing zebras to do battle with this designing Carpenter, who healed the sick, succoured the suffering, and spoke words of wisdom. . For the imputation of love interest between Mary and Judas there is not the slightest foundation, and the introduction of this sex stimulus in the Tragedy of Tragedies has already aroused endless discussion. It has bee/i argued, too, that there is no necessity in such a sacred theme, to dwell upon the sinfulness of Mary, the courtesan. It was the Mary of the contrite heart that mattered. « A REVERENT PRESENTATION Nothing can be said against the reverence of Christ’s presentation. Several aspects of His life, through the medium of the camera, reached a high artistic plane. For instance, the agonising approach to the place of crucifixion. Merely the feet of the Saviour were shown as they passed over the flagstones, the Cross dragging behind, supported by weary shoulders. The finest characterisation in “The King of Kings” was undoubtedly that

of Caiaphas, the high priest of the Temple, a scheming, intriguing, rotund little man, who was not satisfied until he saw the Carpenter on the Cross. . . . Picture his horror as darkness fell on that dread scene, and the Host of Hosts wreaked his vengeance upon the afflicted of Israel. The most notable acting was that of a small girl, sightless and helples, who came to the Christ for healing. Her face was a mirror of conflicting emotions as the Light gradually became clear to her. The Light was His face. CROWN OF THORNS The final scene was pictured in all its stark brutality. The crown of thorns upon a brow so lowly. The gouged side. The nailed hands and feet. The thieves by His side. The crime of crimes, the supreme tragedy.