“ KING OF KINGS ” SCREENED IN CITY.

Star (Christchurch), Issue 18419, 22 March 1928, Page 4

“ KING OF KINGS ” SCREENED IN CITY.

NOTABLE FEATURE OF SAVIOUR’S LIFE.

A private screening of ‘‘The King of Kings” in Christchurch this morning shows that the producers’ aim has been to reveal Christ’s personality, His mission, His persecution and His suffering. From a dramatic and pictorial point of view, it may be stated -without fear of any criticism that the success of the producers has been remarkable. Another point of view is the effect of the picture on the public mind; and here it is difficult to see that anything but good will result from this, the most ambitious effort made in the history of the pictures. On the whole, it intensifies the vividness of the history of the Saviour’s life. The treatment is reverential. There is no melodrama in the screen story. There are spectacular scenes, but these are introduced incidentally, and fall in naturally with Christ’s progress from the beginning of His great work for mankind to the end oi His earthly life on the Cross. Christ is shown as a tall, stately, bearded man, not Jewish in features, sad-eyed, but with a face often lighted up with a smile. His appearance is heralded with the words; ‘‘l come as a light into the world.” His first act shown is to heal a blind child. Then come the high priests, the intriguing, the conspiracy, Christ’s appearance before Pilate, the “Way of the Cross,” the Crucifixion, and Christ’s final triumph. “This is the Story of Jesus of Nazareth,” is the simple title of the picture, a simplicity and directness observed in the titles all through. In most instances the incidents are introduced by texts from the Gospels. The theme has been worked out in such a way that those who see the picture find that their impression of Christ gradually changes. At first He is a man who has caught the fancy of the mob by His healing and His sympathy with the sick and poor. This idea changes to a conception of Christ’s divinity. The first complete realisation of this is when Christ says: “I am the resurrection and the life.” From that incident on to the end there seems to be on the screen a different Christ, more God-like, more purposeful, more deeply impressed -with His work to heal and save. In the scenes on Calvary there is reproduced the agony of Christ’s suffering, but when He appears again, divinity is shown in His face and demeanour There is no striving after effect. The producers have not selected and tmduly stressed incidents that lend themselves to spectacular treatment. The general impression is in the opposite direction, namely, that pains have been taken to avoid the ultra-dramatic spirit that dominates most ordinary pictures. While throughout the long picture—it takes more than two hours to film —attention is rivetted on the Saviour, a good deal of prominence is given to Mary Magdalene, and to Judas and others associated with the life of Christ. Mary Magdalene is shown first in pride and arrogance, and then in contrition, penitence and grief of heart. In the first part of the story, Judas is gay and light-hearted, alt'#jugh sufficiently serious to think out his ambitious schemes. Later, when his mirth is turned to heaviness, his face is drawn and haggard. He is represented as a young, handsome Jew, with a frank and open countenance, a lover of pleasure as well as a selfish schemer. Pictorially, a very attractive part is the introduction, a short series of pictures in full colours, with Mary Magdalene as the central figure, basking in the sun of Roman voluptuousness and luxury. The most beautiful part is where Christ has risen again. The most impressive is Crucifixion. Critics may find that liberties have been taken with the text, but the same may be said of many sermons. On the other hand, little has been sacrificed purely for the drama. The whole tenor has been to subdue the treatment and to make it impressive and reverent. The picture will be shown at the Grand Theatre during Easter week.