AMUSEMENTS.

Timaru Herald, Volume CXXV, Issue 18619, 15 July 1930, Page 11

AMUSEMENTS.

MAJESTIC THEATRE. “THE RETURN OF SHERLOCK HOLMES. In the changing times through which the motion picture is moving there is always the danger of presenting something which has been done before. But with “The Return of Sherlock Holmes,” there is a different kind of first. Holmes has been a popular detective of fiction for years, and his exploits have been the source of excitement for millions, but although the theme of exploits and the methods of Holmes have been copied, there has never been one of the famous stories on the screen till the appearance of Clive Brook in this Paramount picture at - the Majestic Theatre. Thus, for the first time, the public are able to judge whether the Holmes that they have imagined has been faithfully interpreted by Clive Brook or not. So well-known is this man, that many people believe that he is a real man, but the fiction stories of this man are the creation of Conan Doyle, one of the foremost men interested in the supernatural. It is many years since Conan Doyle wrote the famous stories of Sherlock Holmes, which made him famous, and now, after many years of popularity, the detective comes to the screen through the Paramount picture, “The Return of Sherlock Holmes.” In this, Holmes, at the request of his friend, Dr. Watson, comes to the aid of his daughter, and in his last exploit, is able to silence the activities of that arch criminal Moriarty. How he does it you will see for yourself, arid will be able to follow point by point with Holmes, the deduction of this most baffling of mysteries. The character of Sherlock Holmes is brought .to life after years of inactivity by Clive Brook, the distinguished English actor who is supported by an excellent cast, under the able direction of Basil Dean. Excellent supports are also shown.

ROYAL THEATRE. “NIGHT RIDE.” "Night Ride,” a fast moving dramatic story of the American underworld, is the current attraction at the Royal Theatre. Joseph Schildkraut, the star of “Show Boat” makes a departure from his popular romantic roles, and for the first time features in a “straight” part. Opposite Schildkraut as his bride-of-a-minute in this thor oughly thrilling story of the newspaper game at its best and worst is petite ani winsome Barbara Kent and featured in the role of the gunman is Edward G. Robinson, one of New York’s best known character players, who created the role of the Greek gangster in the stage production of "The Racket.” Robinson is regarded as the most perfect type for this class of character on the stage or screen. Joe Rooker, star reporter for the Globe, links Tony Garotta, gunman, to a double murder and payroll robbery through the discovery of one of Garotta’s cigarettes at the scene of the crime. Joe is married to Ruth Kearns and immediatley after the ceremony is called away to work on the story. Garotta confronts Joe at the police reporters’ room and tells him he will even with him for telling the police about the cigarette. Tony also threatens to get Ruth. He escapes and Joe warns his bride to leave their house, but while search is being made for Tony, word comes that Ruth’s house has been bombed. Joe believes ■ Ruth has been killed in the bombing and starts out for Garotta. Tony traps Joe and another reporter, Bob, in Joe’s automobile and tells 'hem he is taking them for a ri~e. He drives to the <*efront and makes them get in a speed boat. Joe manages to turn the tables on Tony in the boat, making him a prisoner. Then he learns Ruth is safe and scores the biggest scoop of the year with his story of the capture of Tony. The story is fast action all I the way. and gives Schildrkaut an oprunity to play a role, which he declares he much prefers to costume narts, although he is not against costume drama as such. Good supports include Dent and Archer in bright comedy, Oswald the Rabbit, and an umpire News Bulletin.

“THE DESERT SONG.” A GLORIOUS ACHIEVEMENT. " The Desert Song” is the stage version, and is recorded with wonderful detail. The mad rush of the Riffs over the desert hills is remarkable. The settings (coloured in places) are lavish, the chorus and ballet are in full strength, and the orchestral music is very beautifully played by the Vitaphone Symphony Orchestra. Mr John Boles will leap into favour by his admirable acting and singihg as the Red Shadow. His' is a rich, robust tenor, very sweet and sympathetic, and he uses it like an artist in the “All Alone” theme song, and the athletic "Song of the Riffs.” But his is not nearly the only voice. Miss King;, if not ja jPßJsed Margot, Sings «W> tausio

charmingly, and rises to considerable dramatic heights in “The Song of the Sword.” There is also a great tenor voice in a minor role, whilst a fine bass organ is displayed by the actor who plays Ali Ben All. Johnny Arthur as Benny Kidd, and Louise Fazenda as 'Susan, are very funny, and Myna Loy, as Azuri, the Arabian dancer, are excellent. So recent was the flesh-and-blood performance here of “The Desert Song” in Timaru, that it is scarcely ne- ] cessary to go into elaborate detail over • the story, the screen version of which '■ closely follows that of the stage. It | revolves round the picturesque, If rather impossible, figure of the Red ! Shadow. This heroic will-o’-the-wisp I is in reality the son of General BiraJ beau, in charge of the French forces in Morocco. The son has been unI justly humiliated by his fellow officers, ; and in revenge he plans to play a dual i part, the half-witted son of the General at home, and the fearless leader of i the Riffs when masquerading as the I Red Shadow. As a matter of fact, i Pierre Birabeau is super-intelligent, | and as the Red Shadow he becomes a

| figure of glamorous romance to many, i including Margot, the General’s ward, i She is being forced into marriage with i Captain Fontaine, but at the eleventh i hour the Riffs descend on the place j and Margot is carried off. At first her i indignation is very real, but later she falls under the spell of the Red ShaI dow. The Riffs also carry off Susie . and her comic Bennie, but they are | allowed to return alone across the desi ert on one donkey, and eventually 1 make their way back to the outpost, I temporarily deformed by their forced I equestrianism. General Birabeau fol- , lows the marauders to their lair, and I demands the release of Margot. There I is a dramatic scene, where the old | General challenges the Shadow to de- , cide the issue in single combat, which ; the mysterious one declines to do. He, however, allows the General to take Margot back. The final scene sees Pierre arriving back victorious with the news that he has killed the Red Shadow, and bearing the outlaw’s cloak as proof of his daring. Only then does I the General realise that his son and the Red Shadow are one and the same person. The end is happiness for i Margot and Pierre. The Majestic Theatre should be taxed during the ensuing week to accommodate all who wish to see and hear “The Desert Song.” The box plans are at the Bristol. The first matinee will take place on Wednesday.