The Desert Song

It was the best of times, the worst of times(Dickens);"The Singing Fool" and the "Jazz Singer" rescued W.B. from bankruptcy but the advent of sound ruined actors who failed to make the transition:e.g. John Gilbert's squeaky voice. 1929 saw the great crash and the onset of Depression.It was also the time of Abd-El-Krim who fought the French in Morocco and may have been the inspiration of this operetta.

The titling looks so very much like a silent,plus the 10 min.intermission.The stiffness is forgivable,considering some facts: silent actors still had to declaim and gesture;synch.sound had to be filmed in booths,restricting movements(no blimps those days),and the camera crane and boom had only just arrived.

Carlotta King is in excellent voice,but has a distinct almost UK elocution resembling Margaret Dumont's.I still think that John Boles' acting as the R.S. is as passionate as one could wish, his portrayal as the inane Pierre overplayed until his father tells him of Margot's intended trip with Fontaine,when his disappointment is obvious.The music keeps to the imported Viennese style except the Riff Song and one or two others.The "Desert Song" duet is a delight and the difference with this film and other musicals is that the background music is there all the time and keeps the action going,not just dialog interspersed with a song or two.I think that their voices compensate for any acting deficiencies and the sincerity comes over very well.The two later versions do not match it in content, and given the choruses and dances the production values for the time are great.The original was partly in Technicolor,I am informed.I disagree about Benny's gaiety:the term was unknown in those days and would not have been implied.I saw this historic masterpiece in Brighton UK in '30,and wish there was a decent video.

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.

'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.

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.

After five years and viewing the two later versions, I think that this primordial effort in filmed operetta is far too severely criticized.I agree with all the observations by other IMDb critics, but there are particularly expansive film production values: good tenor and bass voices among the soloists and choruses,such as those of Sid El Kar and Ali Ben Ali,including the choral settings of "One Alone", "Eastern and Western Love," and let's not overlook Clementina and her ladies in "Castanette", "On the streets of Spain","There is a key.".etc.,and much else.Much would be very non-PC today. The writers have not overlooked comedy in the shapes of Johnny Arthur and Louize Fazenda as Bennie and Susan.Bennie's reaction after a bad experience with a horse is priceless.(see the film, I'm not telling you) It's funnier still when he is dressed in an overlong night shirt, and when Ali Ben Ali, the much turbaned,whiskered,ear-ringed,feathered tribal chief and he argue about Bennie's future. He is much funnier than the newspapermen in the later versions,Lynn Overman, and a later forgotten actor; while Ali Ben Ali's wide-eyed ogling with Clementina is quite farcical. I liked John Boles' rendering of "Then you will know",but in the whole contrast with later musicals (and really this is operetta with some sung dialog) Boles is much more dashing than many later singing heroes unless you include the energetic prancing in "Seven Brides for seven brothers". Louize Fazenda and Arthur make a very comic couple and are full of wisecracks: "Why do men marry their secretaries?" Susan (Fazenda)"Well, if you're going to let a man dictate to you,you might as well marry him" On the whole, this is a large scale,very musical and unusual operetta,full of choruses,combining "the desert magic",horses,exterior scenery, men in uniform,very much ahead of its time. But this very essence of romance has its serious moments;the characters,so different from the pasteboard casts of other works, are almost three-dimensional:they have pasts,presents,futures and personal philosophies. Thus Margot,asked by her fiancé why she wears riding habit quips: "I don't suppose you noticed there was a moon out tonight" Gen.Birabeau" See,Margot wants to be carried off by a shiek,as in the story books.." Margot:" I know that Frencnmen are only shieks to the women they don't intend to marry." In the serious episodes, the "Red Shadow's", Pierre's, tentative nervousness during her solo of the "Desert Song" is well portrayed; Captain Fontaine,the fiancé, gets down to business in "I MUST go,Margot"; finally,the epitome of drama shows,when informed by a legionnaire of the "signal fires",Fontaine points up his revolver,fulminating,"A challenge! This will be his last!" In sum, a great orchestration of exotic choreography,comedy,romance,betrayal,crisis and resolution which significantly outperforms its successors decades later.