MAORILAND PICTURES.

Shannon News, 14 August 1928, Page 2

MAORILAND PICTURES.

"THE GAY RETREAT." When Sammy Cohen played the vaudeville circuits as an eccentric dancer, he got his laughs- from the audience before he uttered a word" or danced a step. His leng nose, his angular figure and his lugubrious face were enough to start the most confirmed pessimist laughing. ■■'"' But it was" not .until he played before the camera, that the worth of hi,? sad'ways were fully appreciated. He and Ted McNamara, are again at it in "The Gay Retreat," due at the Maoriland on Wednesday. These two ■score as laugh makers in this war comedy, Sammy, still with a face as sad as ever and still for some inexplicable leason, causing audiences to shout with laughter.

WORLD'S GREATEST PIQTURETHURSDAY AND FRIDAY.

"THE KING,OF KINGS."

To create in the material representation of a film the story of the Man of Sorrows that has stood through the ages as the supreme drama is a task that seemingly was foredoomed to failure. Yet Cecil de Mille has achieved it in a manner that gives lustre to his reputation as a producer. He was greatly daring. The Christ so artistically and reverently portrayed is no shadowy figure in the story, "Behold the Man," said Pilate, and the Saviour is shown as a very human figure. He is mostly tender, suggesting infinite love and compassion, and yet there is the moment of sternness when He drives the bargainers and moneychangers from the temple and that period before the great Agony when temptation of temporal power is dangled before Him.

Some liberties have been taken with the story. Several of the events have been taken from their chronological order, and yet everything has been done so artistically, that there is nothing to offend the sense of reverence, nothing incongruous or blasphemous. Those who may hesitate to see a picture wherein the Christ is portrayed by an actor, need have no" concern that susceptibilities will be hurt. Liberties that have been taken by the producer have some justification. Judas, the arch betrayer, is no slinking, furtive figure, such as has become traditional,, but a handsome, ambitious and arrogant young man who follows the Saviour because such course seems to offer worldly aggrandisement and power. :. It is in the period of disillusionment and bitterness, when he finds that the followers must tread the lowly paths, that he betrays the Master. The. story opens in' the magnificent palace of Mary Magdalene, the courtesan. Colour photography is used, and the effect is gorgeous, Judas has deserted Mary to follow- the Carpenter,, and the haughty eourtesau, her pride stung, seeks her lover. She confronts the Carpenter, and becomes Mary the humbled and pentitent, who follows the Saviour to the Cross.

Without exception, the scenes in the film are effective, and are. without a jarring note Those dealing with the miracles, especially the raising of Lazarus from the dead', are awc-inspir- ! ing. The beauty of the Last Supper, the dreadful journey to Calvary, the 1 violence at Gethsemane, when "the earth quaked and the rocks split asainder'' are unforgettable scenes. : The management of the. Mapriland : Theatre- have made arrangements to present this great work in Shannon on Thursday and Friday of this week and the opportunity of seeing it should not be missed. .