Shiek Yousseff, poses as a friend of the French while secretly plotting to overthrow them. Apposing Yousseff are the Riffs, whose secret leader, The Red Shadow, is Paul Bonnard, a professor... See full summary »
H. Bruce Humberstone
In Hungary, a prosperous and happy family of farmers take in a Gypsy girl, Nubi, when she runs away from her "cruel" master. Her fickle and seductive nature soon causes discord among the ... See full summary »
This revue presents its numbers around the orchestra leader Paul Whiteman, besides that it shows in it's final number that the European popular music are the roots of American popular music... See full summary »
Louise Mason is a young widow who fills her empty life with the task of becoming a children's nurse. As the years pass, and the widow tries to find her own place in life, her young charges,... See full summary »
Steven Ghent has decided to sell the mine he's owned for fifteen years, located at the border of Mexico where the Great Divide ends. When the representatives are delayed for a few days, he ... See full summary »
Captain Donald King of the British Army goes to India just as World War I breaks out, convincing his comrades that he is a coward. In reality, he is on a secret mission to rescue British ... See full summary »
The Midnight Taxi is a 1928 early part-talkie thriller picture from Warner Bros. directed by John G. Adolfi and starring Antonio Moreno, Helen Costello and Myrna Loy. It is unknown whether ... See full summary »
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.
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