"QUO VADIS?"

Press, Volume LXI, Issue 18480, 7 September 1925, Page 7

"QUO VADIS?"

A SPLENDID SPECTACLE. big feature at theatre ROYAL. "Qr.n Yadi>"" th? spectacular drama. l'.ad it: initial beiore a Ohristchurch science at the Theatre Roya (i- ; : ii.urdn evening, an oudiem-e w if Ciird everv "available scat in the theatre, and v.v.ich n.nst have left the building wiin the ' : o- ihu* it hail witnessed one of the isost f;«cc!i.?uUr productions in the annals t,r the n.O-, picture industry. In v: tSw r.-. HL-e of historical romance , '■ V 1.-,- ..IT with a more geuthere is probab:> no c.'.c w.iu , f .r n ! --.Tie"! than that v.'inc.i re.-ncs tit. « , ra-"* ! e« and' ultimate triumph. of ear.y Condom ,run,: the ,wer <r" >!:e l;o;r,.in J-'muire. Ap-irt from "» n |' m ,,b dealing with this phase «•. toe v or'd s history üboir number . - 1«">" > ; many jutW lu.ve foan-i insr.raLon tor NeJo and..!be for,-.., of evil allied wrtb *«. Of these works '.he greatest is 1,1,q 5; : ki ably the '-Quo Yadis ? of day—,v one of the "best sellers of its aa> and one still to he found in most of books. • In his graphic j® early Church the author has v.oven a f-.cin ..tine- romance of the l.fe and love o. one o Nero's favourite crM-rajs. \_inic>u>-. - with the storv of \ inicius tusi I hi. P . drains principally d-,,!5. though Nero one o ; the world's most infamous scarcely over n»s,.i*B from the se tinportrayal of the F.mpcror's bestial is, indeed, the outstanding triumph of the production. The actor, one I-.mil J »™jy of has created a masterpiece in • # this fiend in human guise—probabl.. one the finest characterisations ever screened. The screen version of the story opens outside the Forum in Rome, and a £ c fure is shown of what life most P">babl} was like in the middle of the first century. Aero and his Court are then introduced. tne Emperor being shown engaged in one ot his favourite pastimes, vatcning th. ing of a voung girl in a pool of 1^ mpreys ; At this stage we make the acquaintance of Petronius one of Nero's courtiers, v. nose principal duty appears- to be the fetter^ s ° s (lie Emperor, although in reality he • his master for his unspeakable vu gar The scene then shifts to the Flauuus, one of the early Christians, where dwells Lvgia. a hostage of the Roman E P Vinieius, while returning from a T ! ctorl °"? campaign, is thrown from his chariot ana seeks assistance from Plautius. Whilst an invalid in the latter's home he meets kygia. and falls n victim to her charms. Througn the good offices of his friend, Petronius, he induces Nero to present her to him. as she is being conveyed to his home, however, klic is rescued bv the Christians, led o? one Ursup, a mighty man of valour, who performs some umazing feats o.f strength in the co l ll of the film. Shortly afterwards Nero s child dies, and Nero needs little persuasion to induce him to ascribe the death to the influences of the Christian Lygia, who has repulsed him in one of his drunken amours. He orders her death, but she cannot be found. The scene then shifts to Nero sCourt, where the Emperor is inspired with the idea of burning' Rome to afford him inspiration for one of his lays. It is at us stage that one of the big spectacles ot tbe film occurs —the burning of Rome. -the frenzied crowd, thousands in number, is shown storming the Imperial Palace and demanding the death of the instigator of the fire. Nero, panic-stricken, seizes the °PP° r " funitv to lay (he blame at the door of the Christians, and orders their extermination. The arena is then shown, packed with thousands who have come to witness the spectacle of the Christians being thrown to the lions. The picture at this stage becomes almost too gruesome in its reality. The pack of lions is seen charging defenceless yowig {fir's, ana rending bodies (which look like human) limb from limb. Following this a chariot race is staged,, with bodies being dragged behind the chariots. A special fate has been allotted Lygia, who is seen bound to the back of a bull. Ursus. however, rushes into the ring, and engages the bull in combat, eventually ''throwing'' it and rescuing Lygia. At this point occurs the consummation of a revolt against Nero, and the miserable monarch flees for his life, pursued by his erstwhile legionaries. His death, and the reunion of Vinieius and Lvgia, are effected in the manner in -which they should be, and all ends happily. Prior to the screening of the film an introductory scena is staged, depicting revels at the Court of Nero. Twelve ballet dancers perform some graceful ballets, led by Miss Arline Power, to the obvious satisfaction of a sufficiently evil-looking Nero. Miss Milli* cent Jennings sings "Burning Kisses," anu some young ladies give a good account of themselves. vocally, in the "Miserere music from "II Trovatore." The overture introduces the "Pilgrims' Chorus" from ''Tahnhauser," and vocal effects are suitably supplied by a party of male voices off the stage. The orchestra is a very able body of players, and, under the conductorship of Mr H. Glaysher, contributes appropriate musical selections throughout the screening of the picture. • "Quo Vadis??" will be screened nightly till further notice, the programme commencing at 7.45.