The Desert Song

Today's idea of "cool" just did not apply in 1929. It's not at all like a modern movie. It has title screens and actors using overly broad gestures and overacting in a nearly comical manner. They also sing in an artificial stylized semi-operatic manner. It combines the style of a silent movie with a stage production of an operetta. It is obviously from another age, but it only takes a few minutes before you accept the strange style and simply relax and enjoy it. The available DVD was obviously made from a print that came from barely salvageable deteriorating celluloid. The video quality is terrible and the sound quality is merely bad. In spite of all these problems, the movie is worth watching over and over. The comic scenes are amusing. The bad editing and overdrawn acting is mildly amusing, too. The music is fabulous and you soon relax and begin to love wallowing in the corn. The plot? Think of it as "Zorro goes to Morocco" and it was probably at least some of the inspiration for Superman (hero with a secret identity who wears a red cape, etc.). The 1953 version is more easily available, but much of the music and plot was gutted to try to make it a bit more "cool" in 1950's terms. Unfortunately, the sacrifices removed much of what made the original production work musically and emotionally. I prefer the older version and just wish there was a better print available. If you have any interest in classic operetta, this is a "do not miss" film. If you have no feeling for such music, you would probably find this a complete waste of time (and earn my sympathy for your inability to appreciate it).

I remember seeing this film in 1929 when I was 8 years old and how dramatic and thrilling it was. John Boles was a wonderful singer and actor who appeared in many great movies in the 30's.

I was seven years old when my mother took me to a theater in suburban Atlanta. The opening scene, lasting several minutes, was in Technicolor. It portrayed the Red Shadow with his brilliant scarlet robe flowing as he lead his band of "Riffs" on horseback through the rugged desert country. It was magnificent and unbelievable. In 1930, a movie in color was in the realm of science fiction. I've never forgotten the experience.

Stiff early talkie in a bad print, but for students of both operetta and the transition to sound, it's invaluable. The 1926 stage success, with a stirring Romberg score set to lyrics by Hammerstein and Harbach, was filmed nearly intact, with choruses and reprises galore serving what now looks like the most ridiculous story an operetta ever served up. John Boles, overplaying the simp Pierre while under-emoting his secret alter ego, the Red Shadow, stands around and delivers the title song and "One Alone" a couple of times apiece, while his romantic counterpart, the stage soprano Carlotta King, sings well and manages some enthusiasm. This being as conventional as operetta gets, there's also a second comic couple, overacted by the extremely fey Johnny Arthur and Louise Fazenda, not having one of her better days. Myrna Loy, still playing "exotic" parts, is a hoot as Azuri, hootchie-kootching in dusky makeup and demanding, "Vere is Pierre?" A crowded chorus mostly stands around and sings, the staging's static, the orchestra's playing live somewhere offstage (under the circumstances, the recording's pretty impressive), some sequences are filmed silent and post-dubbed with music and sound effects, and the crude dramaturgy and far-fetched plotting cross over into camp by today's standards. But if you want to know what a 1926 stage operetta looked like, played like, and sounded like, this is as good a chance as you'll ever get.

'Neath a desert moon, this famous operetta about a lovelorn woman from Paris and the infamous rebel, the Red Shadow, plays out amid the blowing desert sands and cool evening breezes. Not as cinematic as later musicals, this 1929 mega-hit is basically a filmed stage play and runs 2 hours. But the actors are very good and the film is a precious time capsule of 1920 musical theater.

John Boles, who also starred in the 1929 hit RIO RITA, here plays the infamous Red Shadow who is really Pierre, the meek son of General Birabeau. Margot (Carlotta King) has come to Morocco hoping for romantic adventure but is about to marry the dull Captain Fontaine (John Miljan). Margot likes Pierre but cannot abide his meekness. While she pines for adventure, she is also repulsed by the brutality of the Red Shadow.

There's a whole East vs West mentality here in notions about women, love, manliness, etc. Thrown into this stewpot is the exotic Azuri (Myrna Loy), a half-caste dancer forced to live as a "bad girl." She is the only one who knows the identity of the Red Shadow.

For comic relief we have the dowdy Susan (Louise Fazenda) and her silly (read gay) boyfriend Benny (Johnny Arthur) who also seem to be in the wrong place at the wrong time.

Boles, King, Loy, Fazenda, and Arthur are all excellent in their roles.

The 1943 and 1953 versions got progressively sanitized and streamlined, deleting the comic roles, all sexual innuendo, and several songs.

The original 1929 film had several color sequences (apparently lost) but exists in complete form.