“FROM THE MANGER TO THE CROSS."

Manawatu Herald, Volume XXXIV, Issue 1041, 19 December 1912, Page 4

“FROM THE MANGER TO THE CROSS."

MOVING PICTURE OF THE EIFE OF CHRIST.

Particulars are to baud by the ruail of the cinematograph drama that aroused a controversy recently referred td in the cables, “Is nothing sacred to the film maker ?” asks the Daily Mail, in in big headlines. The question arises in connection with a series of cinematograph films depicting the life story of Christ, from Beth lehem to Calvary, which is now being exhibited in London. There are five films in all, making up this story, “From the Manger to the Cross,’’ The first, beginning with the Annunciation of the Virgin, deals with the story of the birth of Christ, and the journey of the Magi to Bethelem, led by the star in the east. The second part portrays the flight into Egypt and the boyhood of our Lord. In the third part the disciples are called on the shores of the Lake of Galilee, and several of the miracles in the Gospel story, including that of the marriage feast at Cana, are portrayed. The fourth part opens with the triumphant entry into Jerusalem, followed by the events leading up to and including the Last Supper and the betrayal by Judas. The last part sets forth the trial before Pilate, the scourging of Christ, and His mockery by the soldiers, and ends with the last scene on Calvary. The films are the property of the Kalem Company, whose custom of sending their companies to the actual scenes in which their dramas are set, is well-known. We have seen here several examples in their productions of Boucicault’s Irish dramas. Regarding the life of Christ, the Company state that they have spent nearly ,£20,000 in obtaining them. The Company sent out to Palestine forty-two actors and actresses equipped with stage properties and effects, and they were away for four months. Much stress is laid on the accuracy of the surroundings of the scenes depicted. The actors and actresses began at Bethlehem, where they fixed up a stage manger, and from there they went through the leading incidents in the life of Christ, visiting the places at which these incidents occurred, and winding up with the tragedy on Calvary, where the sacred spot was roped off from the spectators while the actors carried out their rehearsals.

The Kalem Company was in some doubt as to how the films would be received by the religious community, and it is taking precautionary steps with the object of enlisting support, especially from the clergy. The first exhibition of the films, which took place in the Queen’s Hall, was of a private character, the audience, which consisted of about 2,000 people, being present by invitation. The greater portion of the audience consisted of clergymen and their wives, and men and women who take a more or less active part in Church work. A preliminary statement was made by an official ol the company, in which, alter detailing the trouble and expense the company had gone to, in order that the pictures might faithfully reproduce the surroundings of the incidents presented, dechred that the company had carried out the work in a reverential spirit. As evidence that the company was not actuated purely by commercial motives, he stated that it had no intention ot selling copies of the films broadcast throughout the world, to be produced at any picture palace. Only a few copies of the films would be printed, and it would be a condition of purchase that they should be produced only in surroundings where a reverential treatment was possible. No film of a secular character would be permitted to be shown at the same performance, and no music or entertainment other than of a religious kind would be allowed.

RELIGION AND MELODRAMA, But i; is not contended even by the Kaletn Company that, it it can arouse the interest of the religious community in these moving pictures portraying the life of Christ, the company’s enterprise in obtaining the films will prove other than very profitable indeed. It is too early at present to say what the attitude of churchgoers will be to the pictures ; but, although a large number of the clergy who were present at the first exhibitioc of them have expressed their approval, the sentiment aroused in the minds of others is one of disgust. Some damaging criticisms have been passed on to the pictures, aud the “Daily Mail’’ seems to be preparing to lead a crusade against them. It is staled that it is impossible to

impart any dignity into a cinematograph film, as the cinematograph actor, depending wholly on gestures to convey his meaning, intensifies the theatrical mannerisms to such an extent as to make himself ridiculous. Many of the scenes deal with the miracles performed by Jesus, but the cinematograph has built up such a reputation for the marvellous, by means of “faking” pictures, that the miracles of our Lord, when presented on the film, are robbed of all impressiveness. It is doubtful if it will add to anyone’s reverence for the Scriptures to witness a picture of Christ walking on the water when he knows that the effect has been produced by what is called “double photography.’’ The appeal of the picture palace is not to a very high standard of intelligence, and in obtaining films depicting the life of Christ, the Kalem Company has been careful not to aim over the heads of picture palace patrons. Much cf the story of “From the Manger to the Cross” is on the lines of melodrama. Judas is the villain of the piece, and he plays the part like the villain of melodrama, so that even the crudest intelligence cannot fail to identify him. The highest priests rub their bauds together like the lowclass Jews of melodrama. The scene in the temple, where Christ expels the money-changers, falls little short of buffoonery, because of the wild rushes and crude antics of the actors. There is no com parison between the Play at Oberammergau and ther picture films. There is a reverential dignity about the Passion Play which impresses those who witness if, but the actors in the picture films, deprived of the opportunity of conveying their meaning by speech, have depended on exaggerated gesture and theatrical pose.