STRAND

Sun (Auckland), Volume I, Issue 247, 9 January 1928, Page 13

STRAND

“BEN-HUR” “Ben Hur,” - the Metro-Goldwyn Mayer production, being screened at the Strand Theatre, is the most astounding film, the most exquisite story, the most moving drama of the universal faith that any producer can ever achieve. It is General Lew Wallace’s story of the Christ, a sensitive, emotional version told with a reserved touch that is sheer genius, but it is also the story of the Prince Hur’s sufferings at the hands of. Rome, his bitter feud with the Messala, his search for his mother and sister, his romance with Esther, the daughter of Simonides, his human capitulation to the wiles of the Egyptian Iras —a vision of Jerusalem. Antioch, Rome in all their pagan glories. Never before In the history of motion pictures has a film attracted such distinguished audiences throughout the world as has “Ben Hur”; never before have the criticisms of Press and public been so unanimous and enthusiastic; never before have the churches of the world been so whole-hearted in suport of a production. For its drama is so all-embracing, its emotionalism so fine, its spiritual significance so sincere and effective that adverse critic-

ism is disarmed at the first sight of a drooping figure on an ass, going to the City of David to be counted; scepticism is silent before the shaking spectacle of the Man of Sorrows carrying the Cross through the ribald crowd of the Holy City; the blase indifference of the confirmed theatre-goers i s disturbed into something deeper

at the sea fight between the triremes of Rome and the pirates of Golthar the Terrible, before the gorgeous reproductions of the Circus Maximus of Antioch, and the immense and wonderfully thrilling chariot race therein—every scene, every incident of the picture carries either a strange reverent import, or a vii-ile human note. The story is so well known that it needs but the scantiest outline here. It is developed from two angles, along two major lines —the revenge of Ben Hur on his onetime friend, but now deadliest enemy, the Roman Messala, and his long search for his mother and sister, unknown to him confined in an infected cell in the Tower of Antonia, outcasts of society. His romance with Esther, his brief liaison with the Egyptian his passionate devotion to the cause of the Messiah, are issues of interest and importance, though the sight of the sneering Messala means more to an audience than a glimpse of Esther. It is a wonderful story, unique in the annals of the world’s literature, for not even in the Gospels is this exquisite story told with such a wealth of detail, human significance or emotional force. The acting is matchless. Betty Bronson's portrait of the Madonna, though only for a few seconds, is one of poetic feeling and fragrant beauty; Ramon Novarro, as Ben Hur. is strong, passionate, rebellious; Mr. Winter Hall plays Joseph the Carpenter with dignity and gravity; Nigel de Brulier as Simonides V gives a fine piece of character acting, while the Messala of Francis X. Bushman is the outstanding performance of the piece. insolent, haughty, vigorous, he typifies in arrogant manner the glory that was not Rome. The Strand Symphony Orchestra has been specially augmented, and gives brilliant assistance to the production. Mr. Birrell O’Malley, the well-known tenor, sings “The Star of Bethlehem” as a prologue to the production.

Esther Ralston, the blonde Paramount star whose beauty has been an asset to many successful pictures, now is trying to look colourless and unattractive, for several scenes at least. Her latest role in the stage romance, -The Spotlight,” calls for her transformation from a nonentity into a dazzling personality. It takes a lot of make-up to fit her into the initial role, and director Frank Tuttle is doing his best to mar her beauty.