THE NEW REGENT

Sun (Auckland), Volume 1, Issue 52, 24 May 1927, Page 15

THE NEW REGENT

“MICHAEL STROGOFF”

Another packed and enthusiastic audience paid a notable tribute last evening to mighty “Michael Strogoff,” the stupendous Universal film de France, which has attracted capacity audiences to the New Regent since Friday last. But three more nights remain of the season, and those who have not yet seen this screen masterpiece should avail themselves of the final opportunities. For picturesqueness of setting and • costuming alone. “Michael Strogoff” is unique in film productions. Quaint Russian inns, peopled with dancers. singers, and accordeon players, ' apparently just stepped out of the “Ohauve Souris,” wretched neasant hovels unfit for animals to live in, gorgeous state balls, staged with the extravagance of an Oriental potentate, and, lastly, the great camp of Feofar Khan, leader of the savage Tartars., This Tartar camp is the most extraordinary sequence ever seen in motion pictures. Brilliantly tinted tents, gaudy banners, thick rich Oriental rugs, jeweltrimmed costumes —these " are all shown in their original colours by the new French stencil process, which is said to be vastly superior to any coloured film ever before shown. This process not only brings out every bit of colour in a sceite, but when one scene shifts to another there is not the clash of colours as so often is the case. The lithe brown dancers, dressed in the costiumes which only the East could conceive, strive to please the great Khan. They dance to the music of a strange band playing on great potato-shaped drums. ' long tubas, and strange wind and string instruments. The musicians, with their fierce black moustaches, high fur turbans, and barbaricallycoloured robes, would frighten less hardy entertainers. The Kahn’s harem is there, too, while the Kahn himself rivals Nero in his splendour. His robes of thick silk are studded with gems. In startling contrast to these scenes is the brilliant court ball in the Czar’s palace. Here, too, the scene is in colours, but this time the colours are the soft shades of highly civilised society. The pinks, whites, pale blues, and nile greens of the crinoline gowns are set off by the brave uniforms of the men. Never before has such atmosphere been created for a picture. It carries the patron to another land, and sends him back again and again to “Michael Strogoff.” A special musical score, arranged by Maurice Guttridge, is played by the Operatic Orchestra, and there is the gorgeous prologue, featuring Miss Valma Leich’s ballet,/ etc. Appropriate numbers are given by Eddie Horton at the mighty Wurlitzer, and the “Eton College Boy” appears with great success as “he” really is.