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Twice Told Tales
OLD friends, old books, old wood and old wine may be best. But old musical comedies don't follow in I {their category. In its hey-day, two seasons ago, "Hold ■'^Everything" was a very fair stage show, boasting I several song hits that enjoyed a brief popularity.
In the film version, however, "You're the Cream in 'jMy Coflfee,"sung, incidentally, by thatgreat troubadour 'of the prize-ring, Georges Carpentier, proves only sadly '^reminiscent. And the laughs provided come merely as ^echoes down time's canyons.
J Joe E. Brown is funniest in a moderately good portrayal of Bert Lahr. Winnie Lightner does her stuff. And not much of anything may be sard about Sally "lO'Neil. It is really Monsieur Carpentier who saves the ^day, after all. For the "Orchid of France" puts on the best pugilistic sequence seen in lYiany a squared circle.
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A Big Fiddler's Debut
AUL WHITEMAN'S personality beams benignly down upon "The King of Jazz," ich happens to be just about the most lavishly staged musical extravaganza brought to the screen since the talkie found its tongue. Whiteman seems destined for heavy film honors — and the "heavy" has nothing to do with his avoirdupois.
On the credit side of "The King of Jazz" there must be recorded elaborate spectacle, beautiful pictorial and color composition, excellent music and great artistry in John Murray Anderson's presentation. The picture provides much heretofore available to the public only in the metropolitan theater. On the debit side stand the undeniable facts that much of the material is far from fresh; that there is a dearth of comedy and that there is far too little of Paul Whiteman.
Players who score most are John Boles, Jacques Cartier, Nell O'Day and Jeanette Loff.
Singin' on the Steppes
A SWAGGERING, tuneful operetta of the Russian Revolution reaches the song-screen in "Song of the Flame," which in its film form is a vast improvement over the stage presentation.
The plot, as in all such vehicles, is subordinated to the vocalizing of the leading characters and choral effects. There is a vast aggregation of voices, and the song of the Revolution is especially thrilling.
To the surprise of many, Noah Beery holds his own in this operatic company with a booming baritone that makes his drinking song memorable. Others in the cast are Bernice Claire, Alexander Gray and Alice Gentle. The voices are all excellent, but the acting leaves something to be desired from a movie view point.
The mob movements in those sequences depicting the rousing of the populace and the storming of the palace are more than usually impressive.
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THIS MONTH
Song of The Flame Paramount On Parade Hold Everything High Society Blues The King of Jazz All Quiet On The Western Front
Above, Joe Brown and Winnie Lightner don't take their golf too seriously in "Hold Everything." On the left, Paul Whiteman and the Sisters "G" in a scene from "The King of Jazz," which marks the big fiddler's debut on the screen. Below, Bernice Claire, Noah Beery and Alexander Gray in "Song of the Flame"
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