“THE SIGN OF THE CROSS’

Wanganui Chronicle, Volume 76, Issue 105, 6 May 1933, Page 18 (Supplement)

“THE SIGN OF THE CROSS’

ATTRACTION AT REGENT. SPECTACLE 01’ ANCIENT ROME. Dramatic in the extreme, and packed with the spectacle of ancient Rome, “The Sign of the Cross,” commences a week’s season to-day at the Regen’ Theatre. The picture, which is almost twice as long as the ordinary film, pre sents a tale of faith battling against the brutality and magnificence 01 Rome in the days when she was losing her power. Christianity struggles in the byways and back streets of the great city, always fearful of oppression, yet never yielding in its desire for truth. The little band of believers who meet in secret places to proclaim their their refusal to renounce it oven when waiting for death in the .arena, and their trust In one another, provide the basis of the story. Against all “the grandeur that was Rome,” its brilliance and debauchery, its

viciousness and love of the brutal, the tale of Marcus Superbus, Prefect of Rome, and a Christian girl, Mercia, is unfolded.* Marcus loves her, but to protect her from Nero’s edict that Christians shall be exterminated is treason, and when the band of believers is captured he pleads with her that she shall publicly renounce her faith and be saved from death. Mercia too loves the man who has befriended her, but she cannot give up her faith. Marcus is inspired by her conviction, and in a dramatic finale passes out of the dungeon with her into the arena to death. Such is the outline of the story, but into it the producers have woven a breadth of spectacle that is amazing. The splen dour of the court where a humanly portrayed and almost likeable Nero lives in godlike security, the bustling streets, the arena, and all its variety of death, are lavishly treated. It is difficult to describe the lavishness of tho whole plan of production, the almost brutal starkness of some of tho incidents, and tho tale of sacrifice, of love, that proves stronger than life itself. Tho great finate, the scene in Ihe Circus Maximus, when gladiators tight themselves to death in bloody coinbat, when Amazon women engage with Pyrenees dwarfs, and when 60 Christians arc thrown to Nubian lions, provides a spectacle, shuddersome i® its sheer brutality. Frederic March is cast as Marcus, the Prefect, whose love for the beautiful Christian maiden, Mercia, provides one of the greatest tales of sacrifice known. Elissa Landi is ideally cast as Mercia, and in her portrayal of this simple and appealing character, rises to exceptional heights. The cruel Nero is played by Charles Laughton, a character alpiost repulsive in its fanatical madness, but strangely intriguing to watch, while Claudette Colbert, as Nero’s wicked empress, gives an altogether striking performance. In addition to numerous secondary principals, there are 7500 others taking part. * * * * One of the biggest hits of the year in England and America is Eddie Cantor’s musical comedy, “The Kid from Spain,” which commences at tho Regent Theatre next Saturday. It has been produced on the same colossal scale-as “Whoopee” and “Palmy Days,” which were extremely popular in New Zealand, and now disinterested observers overseas consider that “The Kid from Spain” provides the comedian with his finest opportunity to date. The picture opens with what is, perhaps, one of tho most brilliantly directed dance ensembles ever seen on stiMjp or screen. In an elaborate dormitory at a co-educational college crowds of lovely girls arc seen rising in tho morning, amidst melodious song and dance. It is in this dormitory that Eddie finds himself, having been placed there by his co-students after a hectic evening. This episode leads to his expulsion, and he crosses into Mexico, where he pretends to be Don Sebastian 11, the great Spanish bullfighter. There follow excruciating adventures, involving a kidnapping escapade to help Ricardo, a flirtation with a beautiful blonde, and eventually an unwilling debut in the bull-ring. Lyda Robcrti takes the principal fcmi> nine honours. Other capable artists in the cast are John Miljan, Noah Beery, Robert Young, Ruth Hall. Robert O’Connor, and Paul Porcasi.