MAJESTIC

Sun (Auckland), Volume I, Issue 306, 17 March 1928, Page 15

MAJESTIC

“THE MAGIC FLAME” When it is announced that a motion picture featuring Ronald Colman and Vilma Banky is to appear before Auckland’s picture public, drama of the highest merit is expected. “The Magic Flame,” which was presented at the Majestic Theatre last evening, drew a crowded house. Majestic audiences have been educated in all that spells quality in picture plays, and demand consummate excellence in the fare placed before them. Mention of Colman’s and Vilma Banky’s names brought recollections of other-day masterpieces of these idolised stars. An eager audience anticipated much from “The Magic Flame.” Nor was it disappointed. As a consequence of the initial screening of this film, added triumphs will go to the incomparable lovers. Colman is impressive in each of his roles, both as a circus clown, and subsequently as an unwilling pseudo-regent of the Levantine kingdom of Illyria. The locale of “The Magic Flame,” set first in a Mediterranean circus, moves swiftly to a fashionable hotel and passes to a palace. Although three murders are enacted before half the plot is unfolded, there is a convincing absence of anything bordering oft crude sensationalism, so distasteful to the discerning picturegoer. Colman as the clown Tito is a real clown, and until he doffs his false nose and removes the pipe-clay, nobody suspects that underneath is the strong face of the Romeo of Romeos. He is portrayed as the lover of Vilma Banky in the part of a little dancer and trapeze artist called Bianca. Colman, as the sinister Count Casati, heir to the throne of Illyria, interprets the role with tremendous power, and succeeds in making himself as much hated in this guise as he is loved as the clown. The count presses his love upon Bianca, and from that point the plot develops rapidly. Colman the count is hurled from his hotel window to death by Colman the clown. Before he can explain his action h« is rushed off to become king of Illyria while Bianca is left believing it was her lover and not the count who was slain. Burning with a desire for revenge, she follows the new king determined to assassinate him—actually her lover—but she is foiled in her attempt. Believing that the kingdom has fallen under the hand of a degenerate royalty, the High Chancellor plans to murder the disguised clown. With this end in view he enlists the aid of Bianca, who is to deal the fatar knife-thrust. "When about to kill the supposed profligate she recognises her lover’s eyes. An excellent story, well balanced between humour and pathos; sweetly romantic, and complex with political treason and intrigue. The high quality of Majestic orchestral work has become a byword iri Auckland theatre circles. Mr. White-ford-Waugh, the talented musical director, has raised his company to a high level of musical attainment. A sympathetic and carefully-selected list of numbers harmonised to perfection with the beauty of the photoplay. During the supporting acts excerpts from the musical comedy “Irene” were greatly enjoyed by a responsive audience. A delightful and cleverly-executed ballet, “Harlequin and Columbine,” was given with much charm by Miss Bettina Edwards, and her six dancers. Rollicking comedy is added to the programme in a thrilling film, wherein are seen the hair-raising exploits of a giant ape at large in the mansion of an eccentric professor. A remarkable Nature film showed the development of the Tiger beetle from larva to predatory beetle. This was was something entirely novel and found immediate favour. The arrival of Hinkler in Bundaberg and at Brisbane was a film heartily applauded. Concluding one of the most enjoyable programmes presented this year was the popular Majestic Magazine.