PRINCESS AND TIVOLI

Sun (Auckland), Volume 1, Issue 93, 11 July 1927, Page 13

PRINCESS AND TIVOLI

“THE SIGN OF FOUR” A feature of the “Sign of Four,” Sir Arthur Conan Doyle’s story now being shown at the Princess and Tivoli, is the contrasting of London types. Maurice Elvey, rather than tell a straightforward crook story, decided to give an impression of London life, including Limehouse, without the permission of Thomas Burke. “The Sign of Four” is therefore an attempt \o give an impression of London —East and West—not by two contrasting stories, but by telling a crook story in a new way. The erare, as a consequence, views of London from the river, as well as from the motor-car containing the villains, who are endeavouring to escape from their pursuers taking the river route. More of London is seen in this film than in any film of London ever produced. This is an important feature of a film that is chock-full of action, and with a swiftly-moving story, that neither halts nor pauses from the first foot to the last.

The story shows how Sherlock Morton, who tells him of the murder Holmes receives a visit from Mary of her father, the governor of a convict settlement, and asks his advice regarding a note she has received offering to explain the mystery of her father’s death. Holmes and Dr. Watson accompany the girl to a house in Twickenham, where Dr. Sholto, who confesses to the theft of a valuable treasure, tells how he fears the vengeance of his accomplices, who were responsible for the murder of Morton. Dr. Sholto is killed in a mysterious manner while the three are in the house. Later on Mary and Dr. Watson are lured to the house at Twickenham by Abdullah Khan, a Hindu, who carries off Mary to the treasure. They are pursued by Holmes and Watson to a yacht off Barking, where Mary is rescued and Abdullah is captured with his spoils.