REGENT THEATRE

Wanganui Chronicle, Volume 76, Issue 105, 6 May 1933, Page 12

REGENT THEATRE

“SIGN OF THE CROSS” - Judging by the keen demand at the ■ booking office where reserving for tonight’s screening of “The Sign of the Crocs’ 1 has been very; brisk, this mammoth attraction at the Regent Theatre should prove the success of the year. The appearance of a .* Roman chariot in the streets of Wan- •*’ ganui has intensified interest and the attendance at this afternoon's matinee as well as to-night’s screening should result in capacity houses being recorded. Painting a mighty canvas with a sure, deft hand, Cecil B. de Mille has recreated the early days of Christianity in Rome in masterly fash* ’oa. It is a film of contrasts. The Christians are seen living in underground dwellings and moving through th© streets in fear that their faith will be discovered and that they will be stoned to death by the multitude, meeting by night in secret ruins on the outskirts of the city, and all the time seeking to spread their Gospel to as many as will hear it. On the other side is the court of Nero, the scene of opulent banquents, intrigue, scandal, debauthes and every form of cruelty. The Emperor, indolent, gross and sensual, dominates, ordering Christians to be sought out and captured whenever possible, that their death may provide a public spectacle in the arena. Tho glories of Roman architecture have been followed faithfully, heightening the contrast between the sated lives of the rulers of Rome and the simple existence of the Christian fathers. With a typical de Mille touch, the picture opens with a spectacular scene, Rome blazing while the Emperor, crazy with self-importance, plays his fedicula to his terrified courtiers. When the fire dies down he is told that the people suspect that he has fired the city and that he may not be safe. Then a courtier, the crafty Tigellinus, suggests that it may be politic to cast the blame on the Christians, providing the public with a further reason for seeking their death. From this point onward, Wilson Barrett’s famous play has been faithfully followed. While the Christians await death in the dungeons under the arena, passing their time with prayer and exhortation, the intrigues of the Court and the romance between a Christian girl, Mercia, and a patrician. Marcus Superbus, prefect of Rome, are unfolded. His efforts to save the girl are thwarted by the Empress Poppaea, who is jealous of the hold the girl has obtained on Marcus. All must die, and then comes the most spectacular scene of the film, the Roman holiday at the arena. Gladiators, animals of all kinds, pigmies and barbarian women all fight as a preliminary to the main attraction, the throwing of the Christians to the lions. Finding that he cannot save the girl, Marcus joins her and they go to their death together, the film closing on a not© of faith. As would be expected, a remarkable cast has been assembled. Fredric March appears as Marcus, Claudette Colbert as Poppaea, Elissa Landi as Mercia, and lan Keith as Tigellinus. but by far the greatest performance is given by Charles Laughton as Nero. Gross, sensual, cruel at • times, and at other times, fawning and childlike, his Emperor is a remarkable piece of art.