STRAND

Sun (Auckland), Volume I, Issue 257, 20 January 1928, Page 15

STRAND

“BEN-HUR” BREAKING RECORDS

An epic is made by the magnificent treatment of a magnificent theme. By that standard it is certain that the great picture which is commencing its sixth triumphant week at the Strand Theatre to-day, can be compared favourably with any epic that the world knows. Lew Wallace’s famous story, viewed in the light of a motion picture tale, offered immense posibilities but few people, even taking into account the marvellous strides which have been made in the picture-producing industry, dreamed that it could have been done such justice as has been seen. All the splendour, the cruelty, the power and ruthlessness of the old Roman rule are portrayed. They are shown with a regard for detail and picturesqueness that was almost inconceivable. There is unfolded a tale that transported them back to the days of Pontius Pilate, when the Jewish nation, previously so strong and united, was tasting the bitterness of defeat, and writhing beneath the heel of Roman tyranny. There are scenes in the picture which have been a matter of literary and romatnc history since the book was first written. First and foremost, the chariot race. The screen version is so much more convincingf and excitement more intense. The passion and intensity of the rivalry between the two principals, the wonderful spectacle of the race, with the perfectly matched and superb teams straining every muscle, withql answering to the touch of the driver as if he had been part of themselves, exercised a grip that knew no failing until Ben Hur drove past the judges a victor, and the arrogant Messala was trampled, bruised and broken in the dust. The religious history that the story contains, and about which hangs a great portion of the plot, is treated in a manner that deserves the very highest commendation. The story of Ben Hur begins with the appearance of the Star of Bethelhem and the guidance of Joseph and Mary to the Cave of David, when they were refused accommodation at the inn. Then 20 years passed and the youthful Ben Hur suffers a rebuff when welcoming his erstwhile friend, the Roman Messala. Ben Hur finds himself sent to the galleys, while his mother and sister are sent to a leper haunted dungeon. After three years in the galleys, Ben Hur saves the life of the commander of the fleet and the old man takes him back to Rome as his adopted child. There, hardened by the terrible life in the galleys, he becomes the foremost athlete of his time, and excels in driving in the great chariot races, so much in vogue with the Romans. In that manner, driving the white team of the sheik Ilderim, he overthrows Messala, breaking his body and ruining his fortune. Thereafter the life of Ben Hur is devoted to two things, the finding of his mother and sister, and the deliverance of the Jews from Roman bondage. It is then that the world of the Xazarene is proclaimed and following him, Ben Hur raises two legions of fighting men. The mob seizes the Xazarene, and Ben Hur rushes his troops to the spot, putting his word and following at the service of the man who was his King. Then came the divine comand to lay down his arms. Ben Hur does so, and by a miracle, the Xazarene restores to health and strength his sister and mother, who have been released from the dungeon by the order of the Pilate. From the ijoint of view of the production, the piece may well be styled perfect. The acting

was all that as well. The role of Ben Hur was admirably carried out by Ramon Novarro, and opposite him, and opposite him, May McAvoy was delightful in the part of Esther. Messala was a part which was very well taken by Francis X. Bushman. A prologue is given to the picture in the shape of a tenor solo, “The Star of Bethlehem,” by Mr. Birrell O’Malley. The w ork of the Strand Symphony Orchestra adds materially to the effect of the picture. -