OUR OWN PICTURE

Sun (Auckland), Volume III, Issue 846, 14 December 1929, Page 20

OUR OWN PICTURE

“UNDER THE SOUTHERN CROSS” AT MAJESTIC GIVING THE MAORIS A CHANCE There are few New' Zealanders who will not look with approval on the screen as a successful means of showing Maori art and romance to the world that knows it not. We of New* Zealand are appreciative of the natives of our country and would have them known at their true -worth but, on the other side of the world, one native race is looked upon as much like another and few could distinguish between the characteristics of the Australian blackfellow and the Maori for instance. In spite of its interest as a story then, and its thrills as a picture of action. “Under the Southern Cross” must be praised chiefly for giving the Maori a chance to impress his personality on picturegoers the world over. It is no surprise to those familiar with the natives that they should be so entirely at home in the making of a picture. The Maoris have flung themselves into their unaccustomed work with zest and their spontaneous cheerfulness has been unchecked by a discreet producer. It has been recognised that, with an all-Maori cast, natural freedom from artificiality and a genuine spirit of enthusiasm are productive of far better results than any instruction which might have resulted in a stilted nervousness. The story was taken from a simple tale of the union of two tribes, long enemies, by the wredding of chief’s son to chief’s daughter. The obstacles that lay in the way of this desirable union were many, and, before the young w'arrior paddled into the twilight on a Rotorua lake with his loved one on board his canoe, the audience was given glimpses into tribal life and customs. With eyes

rolling ecstatically upward and tongues aslant, the warriors shouted their fierce hakas, maidens twirled the feather-light poi balls, as the sweetly weird native chant rose and fell. There was a desperate battle between warring tribes varied by scenes from the life of the pa in peace when the carver was busy at his art and the women cooked food for the community in flax baskets suspended above boiling pools. An eruption scene was well done and New Zealand’s thermal peculiarities were used to full advantage. Other scenes one recognised in the course of the picture were White Island, Waitomo Caves, Whakatane Beach and Cape Kidnappers, where the gannets nest. Before the picture commenced Miss Bathie Stuart, who has recently been travelling in America for the Government Publicity Office, gave a short address. She assured the audience that rumours of licentious Hollywood were entirely without foundation. On* the contrary, the people of film-land had to lead almost ascetic lives or it would be impossible for them to continue in an exacting profession. Miss Bathie Stuart, who appeared in a talking prologue to the picture, has been in close contact with the Maoris, and “Under the Southern Cross” has been well sponsored by her. Appreciative comments have also been made by the Prime Minister, Sir Joseph Ward, and Sir James Parr. “Under the Southern Cross” is a Universal film shot in New Zealand. Supports included a U.F.A. gem treating of the preparation of caviare by Russians who hunt the sturgeon to some purpose. There was a Fox Movietone News, a novelty whistling item by Margaret McKee and an alltalking sketch “Solomon's Children,” a story with a decided moral. Mr. Whiteford-Waugh’s Majestic Orchestra was popularly received. The numbers were selections from “The Desert Song” and “What Do We Care?” a novelty hit.