ENTERTAINMENTS

Southland Times, Issue 21000, 5 February 1930, Page 8

ENTERTAINMENTS

‘THE DESERT SONG.” MAJESTIC THEATRE. LAST TWO PERFORMANCES, MATINEE AND TO-NIGHT. “The Desert Song,” Warner Brothers’ special screen operetta, which has met with such a merited success at the Majestic Theatre screens for the last two performances at the matinee this afternoon and tonight. The story, which from its recent presentation on the stage here is well-known, revolves round the picturesque figure of the Red Shadow. This modern Robin Hood is the son of General Birabeau, in charge of the French forces in Morocco. The son has been unjustly humiliated by his fellow officers, and in revenge he -plans to play a dual role, the half-witted son of the general at home and the fearless leader of the Riffs when masquerading as the Red Shadow, in which guise he becomes a figure of glamorous romance to many, including Margot, the general’s ward. Margot is being forced into marriage with Captain Fontaine, but at the eleventh hour the Riffs descend on the place and carry her off. At first her indignation is very real, but later she falls under the spell of the Red Shadow. The Riffs also carry off Susie and her comic Bennie, but they are allowed to return alone across the desert on one donkey, and finally make their way back to the outpost. General Birabeau follows the marauders to their lair, and demands the release of Margot. There is a dramatic scene when the old general challenges the Red Shadow to a duel, which he refuses, but lets Margot go back with the general. The final scene shows Pierre coming back with the news that he has killed the Red Shadow-, and bearing the outlaw’s cloak as proof of his daring. But the general lets him know that he (tile general) knows the Red Shadow and his own son are one and the same. Pierre and Margot thereupon find happiness together. The settings are lavish, the chorus and ballet are in full strength, and the orchestral music is beautifully played by the Vitaphone Symphony Orchestra. John Boles makes a great hit with both his singing and acting as the Red Shadow, and Carlotta King, as Margot, also sings her way into favour. Johnny Arthur and Louise Fazenda, as Benny and Susan, supply plenty of comedy, while Myrna Loy makes an alluring Azuri. Those who saw the play staged in Invercargill will be given an unequalled opportunity of settling for themselves the much-discussed question—which is better, the stage or the talkies. The speaking and singing in this picture is perfect and the desert scenes are done on a scale that cannot possibly be even hinted at on the stage. THE REGENT. MAURICE CHEVALIER IN “INNOCENTS OF PARIS.” BOTH MATINEE AND NIGHT SESSIONS. To the majority of local picture-goera Maurice Chevalier, the famous French comedian, is only a name; but it is safe to say that there will be few who would not understand, after seeing and hearing him in “The Innocents of Paris” how he won his title, “The Idol of Paris.” Than this picture, no more appropriate vehicle could have been chosen to demonstrate every phase of Chevalier’s unique genius. He is a singer, certainly, but a singer with a style all his own; he is a comedian, but he is a comedian with an all-too-rare aptitude for taking his audience to his heart, and being one of them. He sings and talks not to them, but with them. Above all, he is very human, and, as the last scene fades out it. leaves his hearers with the impression that his appearance had been all too brief, and that they would fain have seen more—much more —of him. As a production, “The Innocents of Paris” is difficult to classify. It is not a talking picture in the accepted sense of the word (although every word is spoken), nor is it a magnified vaudeville show produced on. the screen; rather is it a happy combination of both, in which melody, dance, comedy, and romance are delightfully blended. In the prologue, Chevalier explains that his English is not of the best, but, with the exception of a faint touch of French accent, which enhances rather than detracts from the value of his performance, his diction is perfect. More than this, he plays the part of Maurice Marny with a spontaneous and infectious gaiety which carries his hearers along with him; and, although his principal songs are sung in English, the numbers he sings in French are perfectly understandable, such a genius has he for gesture and facial expression. He is undoubtedly a great artist. The story deals with .his rise from the slums of Paris, where he had already attained fame as a comedian amongst his circle of friends, to the top of the tree in the theatrical world, and all for the love of a woman. Into the plot comes Jo Jo, a little lad whom he has rescued from drowning, and who, adopted by Marny’s mother and father, becomes, eventually, a very potent factor in bringing together Marny and the girl he loves. This role is taken by David Durand, who, despite his extreme youth, is an extremely clever little actor. The Marny pere and mere are portrayed by George Fawcett and Mrs George Fawcett respectively, but, although these parts are small, they stand out as delightful little character sketches. The part of Louise Leval, Marny’s sweetheart, is taken by Sylvia Beecher, who adds to a pleasing stage presence a good, speaking voice and a keen sense of dramatic values. The whole story is very human and very real, and, although some of the interpolated scenes, such as an amateur theatrical trial in Montemarte, and reproductions of a huge revue, are wonderfully produced, they never obtrude on the main theme. The supporting programme is an unusually long and varied one, and includes a cartoon ‘‘After the Ball,” the celebrated concert artist Dorothy Helmnich in favourite songs, a comedy “Piano Tuner” and Pathe Sound News.