The longest chapter of course is the first at 32½ minutes. But there is still a considerable variance in the two-reel chapters which range all the way from 21 minutes (6) to 16 minutes (10). Total running time: 248 minutes. U.S. release: March 1931. U.K. release: June 1931.
Cut-down feature version (not released in the U.S.): BIMI.
SYNOPSIS: The complex story-line involves a lot of folderol about a letter written by a dying Rajah (Miller) which exonerates a young American (also Miller) of his murder and accuses his plotting half- brother (Auer) and his accomplice (Santschi) instead. Matters are complicated by a young man's (Nye) discovery of a diamond mine which an Arab sheik (Karloff) covets. The sheik is joined by the free-booting accomplice (who brings along his obedient ape-man, McLaglen), a vamp (Christie), an animal trader (Potel), and a secret service agent (Lalande).
NOTES: Locations outside Yuma, Arizona (desert scenes) and Bronson Canyon, North Hollywood. Interiors shot at Tec-Art Studios, Los Angeles. This was Mascot's third of 23 all-talking serials and was originally to star Harry Carey and Edwina Booth who both became unavailable when called back to M-G-M for re-takes on "Trader Horn".
COMMENT: Although it's obvious right from the start that Martha Lalande is no old lady, we know she couldn't possibly be the man in dark glasses because both characters are on screen at the same time in at least two chapters. It does strain credulity a bit when it finally turns out...
Never mind! Realism was never a Mascot virtue. Not that it matters when just about each episode — particularly numbers one through five — is so chock-a-block full of high-budget excitement. Six is the economy chapter. And there is a noticeable lessening of both pictorial splendors and thrills thereafter. But still plenty of derring-do, nonetheless.
Miller makes an agile hero, but lacks the confidence he was later to assume as a serial heavy. His impersonations are little short of ridiculous, but we like him. Nora Lane, of course, makes a splendid heroine; whilst Santschi plays the villainous Harris to a "T". The big disappointment is Karloff, who acts his Mustapha as a try-out for the duplicitous rajah in some Amateur presentation of "The Green Goddess".
Another letdown — though for the opposite reason — is provided by Dorothy Christie, that glorious vamp who is killed off at the end of Chapter Two. Let's hope she received an urgent call from M-G-M. Much as we like Miss Lane, the serial is the sorrier for Christie's absence.
Direction is smooth, photography atmospheric.
Cut-down feature version (not released in the U.S.): BIMI.
SYNOPSIS: The complex story-line involves a lot of folderol about a letter written by a dying Rajah (Miller) which exonerates a young American (also Miller) of his murder and accuses his plotting half- brother (Auer) and his accomplice (Santschi) instead. Matters are complicated by a young man's (Nye) discovery of a diamond mine which an Arab sheik (Karloff) covets. The sheik is joined by the free-booting accomplice (who brings along his obedient ape-man, McLaglen), a vamp (Christie), an animal trader (Potel), and a secret service agent (Lalande).
NOTES: Locations outside Yuma, Arizona (desert scenes) and Bronson Canyon, North Hollywood. Interiors shot at Tec-Art Studios, Los Angeles. This was Mascot's third of 23 all-talking serials and was originally to star Harry Carey and Edwina Booth who both became unavailable when called back to M-G-M for re-takes on "Trader Horn".
COMMENT: Although it's obvious right from the start that Martha Lalande is no old lady, we know she couldn't possibly be the man in dark glasses because both characters are on screen at the same time in at least two chapters. It does strain credulity a bit when it finally turns out...
Never mind! Realism was never a Mascot virtue. Not that it matters when just about each episode — particularly numbers one through five — is so chock-a-block full of high-budget excitement. Six is the economy chapter. And there is a noticeable lessening of both pictorial splendors and thrills thereafter. But still plenty of derring-do, nonetheless.
Miller makes an agile hero, but lacks the confidence he was later to assume as a serial heavy. His impersonations are little short of ridiculous, but we like him. Nora Lane, of course, makes a splendid heroine; whilst Santschi plays the villainous Harris to a "T". The big disappointment is Karloff, who acts his Mustapha as a try-out for the duplicitous rajah in some Amateur presentation of "The Green Goddess".
Another letdown — though for the opposite reason — is provided by Dorothy Christie, that glorious vamp who is killed off at the end of Chapter Two. Let's hope she received an urgent call from M-G-M. Much as we like Miss Lane, the serial is the sorrier for Christie's absence.
Direction is smooth, photography atmospheric.
