MAJESTIC THEATRE

Sun (Auckland), Volume 1, Issue 38, 7 May 1927, Page 17

MAJESTIC THEATRE

“CASTLES IN SPAIN” Castles in Spain. Not fairy palaces, of cloud and mist but massive old pile* of medieval stipne where the world of a grand seigneur was life or death, where the court revelled and the dungeons kept their secrets. Feudal times, the romantic days of lord and vassals, and brigand chief and merry men, are brought back in the great achievement of United Artists. “The Night of Love,” screened for the first time at the Majestic Theatre last night. The word achievement is used not as a synonym for production, but with a desire to emphasise its strongest meaning. The screen players who have grouped themselves under the company title of “United Artists” have made history in their attempt to weave a romance through a spectacular setting. Many producers have assembled the massive scenes which make a spectacle; many have made poignant dramas but very few have been able to balance the story with the sight-seeing and give the public a great romance flowing uninterruptedly through the magnificence of the show. “The Night of Love” is a daring picture in that it tries to discover the early sixteenth century without the veneer which the vast improvement in our civilisation compels us to place over it. Not that it ventures to doubt that virtue and chivalry were existent then. The film contrasts the young and good and romantic with the salacious, the ribald and the cruel and the ultimate victory as every good patron of the moving-pictures knows, must lie with the first of these combinations. Frankly the film has found a centre in the ancient and iniquitous “droit du seigneur” by which the lord might take any woman in his domain even though it should be the night of her wedding. Montero and his Romany lass had just celebrated their nuptials when the Seigneur, returning in pageantry from his board hunt, took a fancy to the girl and sought to avail himself of his right. The vengeance of Montero, who becomes a brigand chief, is deflected by the beauty' of Princess Marie of France. The story builds up to a climax in an attempted burning at the stake, a “miracle” which prevents it, and the battle between the castle guards and the brigands, an impressive affair. In artistry of setting and photography', “The Night of Love,” sets a new standard. Many of the scenes are impressive imaginings of feudal magnificence; pictures of sheer beauty

made by an artist. Ronald Colman is the brigand hero and his role in “B e a u G e s t e” proved his ability. Vilma Banky, the Hungarian blonde, is a passionate and lovely Marie. As a prologue to the picture there is a stage presentation

r- , , ~ , called “A Glimpse Ronald Colman of Bohemia.” A Romany camp fire scene this, effectively set, with a song and dance, both prettily done. Comedy relief to the main picture is

provided by a far-seeing management in a bright effort entitled “Fool’s Luck.” made by Lupino Lane. The hero’s indolence, which is truly delightful, coupled with his ability' to remain unruffled in the most ruffling situations, make an exceptionally funny film. Latest news films are also screened. Special music played during “The Night of Love” reflects the varying appeal of the film.