REGENT THEATRE

Wanganui Chronicle, Volume 76, Issue 108, 10 May 1933, Page 12

REGENT THEATRE

•♦THE SIGN OF THE CROSS’* As a stage play 4 ‘The Sign of the Cross” was a tremendous success. It was produced in London by the late Wilson Barrett, while playgoers in New Zealand will* remember the popularity vf Julius Knight, a ‘‘matinee idol’ 7 of the day, as Marcus Superbus, here. The greater possibilities of the screen in many respects make the film version, now at the Regent Theatre, even more Thrilling, and though some of the scenes are, perhaps, unnecessarily harrowing, the large audiences at each session were deeply impressed. The glories of Roman architecture have been followed faithfully, heightening the contrast between the sated lives of the rulers of Rome and the simple existence »f the Christian fathers. With a typical de Mille touch the picture opens with a spectacular scene—Rome blazing, while the Emperor, crazy with selfimportance, plays his fedicula to his terrified courtiers. When the fire dies down he ia 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 tor seeking their death. 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. Then eomes the most spectacular scene of the film —the Roman holiday at the arena. Gladiators, animals of all kinds, pigmies and barbarian women all light 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 note of faith. As Nero, Charles Laughton, the English actor, gives a remarkable performance. Gross, sensual, cruel at times, and at other times fawning and childlike, his Emperor is very convincing. Fredric March, as Marcus Superbus. and Elissa Landi, as the Christian girl, Mercia, provide the romance, while Claudette Colbert appears successfully as the jealous Poppa ea.