Kid Millions (United Artists) (1934)

EDDIE PRANCES AMONG THE PYRAMIDS Wl TH THE GORGEOUS BLOCK AND SULLY IN “KiyULLIONS” Cantor Musical Marks Comedy ream’s First Appearance In Feature Film (BIOGRAPHICAL FEATURE) The popular vaudeville team and radio stars, Block and Sully, make their first appearance in a screen fea¬ ture in “Kid Millions,” Eddie Cantor’s fifth annual film musical comedy for Samuel Coldwyn, which is now at the .Theatre. Jesse Block and Eve Sully have been in show business since they were thir¬ teen years old. Their careers started along different paths, but nine years ago they crossed when they formed their present partnership. For four years this partnership was purely a business arrangement but five years ago it became a matrimonial partner¬ ship as well when they were married at Jack Benny’s home in Los Angeles. Jesse Block was born in New York City and began his stage career as a Cus Edwards protege, as did Eddie Cantor. However, the two did not play in the same act, although Block did appear in the Cus Edwards Song Revue of 1915 with such famous Edwards proteges as Lila Lee and Ceorgie Price. Later he formed the vaudeville team of Block and Dunlap that continued for six years. The split-up of this team brought about the Block and Sully act. First “Talk” Act in Film House Eve Sully was born in Atlantic City. Before teaming with Jesse Block she had a recognized vaudeville act known as Eve Sully and Her Rollickers. It was a terpsichorean affair in which she was starred with eight male dancers. One of its features was a four-piece band on the stage. This was considered quite a novelty at the time and it proved to be the fore¬ runner of the present stage dance bands. For four years the act of Block and Sully toured the Orpheum Circuit. With the passing of big-time vaude¬ ville, they appeared at the deluxe mo¬ tion picture theatres and hold the distinction of being the first “talking act” to appear in film houses. Pripr to their appearance at the Chicago Theatre, acts on the type of theirs were considered unsuited for film theatre presentations. “Sight acts” only were being used. The success 6f Block and Sully paved the way for other talking acts and brought to mo¬ tion picture audiences many vaude¬ ville headliners who had previously been barred. Guests on Cantor Hour About two years ago they decided to stake everything on a campaign to make themselves radio stars. They cancelled future stage bookings and went to Florida, where Eddie Cantor was broadcasting at the time. They arranged “accidentally” to meet Cantor at the races, and just as they had hoped, he asked them to come on in one of his radio programs as guest stars. Cantor told them they were fine but they didn’t believe it until their fan mail began pouring in. They did another broadcast with him from Pittsburgh and the mail increased to such an extent that Cantor arranged for them to appear with him on sev¬ eral succeeding programs. Then Samuel Coldwyn wired them to come to Hol¬ lywood to appear in “Kid Millions,” but before they left for California they signed a radio contract that calls for them to broadcast every Monday night over the Columbia network as stars of the Ex-Lax hour. In “Kid Millions,” which is re¬ leased through United Artists, their original style of comedy is cleverly woven into the script. Both Cantor and Director Roy Del Ruth predict early stardom for them. Formerly With Eddie (ADVANCE STORY) One of the Roman guards who worked with Eddie Cantor in “Roman Scandals” was a strapping big Italian who looked heroic in a burnished shield and a plumed headpiece. On the completion of last year’s Cantor frolic, he disappeared. During the filming of “Kid Mi- llions, Eddie’s fifth annual screen musical comedy for Samuel Coldwyn, released through United Artists, and sfiowing.at the .Theatre, Eddie got a post card from a friend in Kennebunkport, Me. It told of the former Roman guard working at a local hotel. His card read: “Joe Lucie, Second Cook. Formerly with Eddie Cantor in ‘Roman Scandals’.” (REVIEW) If there’s such a thing as a perfect screen musical, “Kid Millions,’’ Eddie Cantor’s new annual extravaganza for Samuel Coldwyn, which came to the.Theatre last night, is it. George Murphy and Ann Sothern 10 —One Col. Scene (Mat .05; Cut .20) The banjo-eyed comedian is fun¬ nier than ever as a boy Cinderella of the Brooklyn waterfront who turns out to be the sole heir of Professor Wilson, late egyptologist who left a fortune in buried treasure in Egypt. The presence of several other claim¬ ants to the fortune makes the story fast, funny and furious. Chief of these is Ethel Merman, as a hard-boiled song-plugger posing as the late Pro¬ fessor’s common-law wife, and her boneheaded gangster boy-friend, played by Warren Hymer. Ann Sothern and George Murphy furnish the heart interest. The fun begins before the boat¬ load of treasure hunters even embarks and runs high during the crossing when Ethel and Hymer try unsuccess¬ fully to put Eddie out of the way. Arrived in Egypt, Eddie gets mixed up with the Sheik, played by Paul Harvey, and his gorgeous Harem of Goldwyn Girls. The Sheik’s not-quite- bright daughter, Fanya, played by Eve Sully, develops a terrific crush on Eddie and saves him from the boil¬ ing oil vats on his promise to wed her. But Eddie wants to get back to his Brooklyn sweetheart and Fanya’s jealpus fiance, played by Jesse Block, helps him get away with the fortune in a plane. Following a crazy flight over the Atlantic, Eddie lands in New York and opens a free ice cream fac¬ tory for boys and girls. The finale, showing the ice cream being frozen and served, is the loveliest and most effective Technicolor sequence the screen has offered to date. Lavishly produced, for release through United Artists, “Kid Millions” offers several gorgeous girl and song numbers, and the “Mandy” number, in which Irving Berlin’s song hit, which Eddie introduced in an early Ziegfeld Follies, is revived is staged with terrific effect. “Okay, Toots,” “An Earful of Music,” “When My Ship Comes In,” and “Your Head On My Shoulder,” are other tuneful hits you’ll be humming and whistling for months. “Kid Millions” is a million dollars worth of entertainment. See it and treat yourself to the greatest film fun fest in years. Eddie Cantor and Goldwyn Girls in “Kid Millions,” the banjo-eyed comedian’s new Samuel Goldwyn screen musical extravaganza, re¬ leased through United Artists and showing at the_Theatre. 2 —Two Col. Scene (Mat .10; Cut .40) Ann Sothern Owes Film Success To A Promise Flo Ziegfeld Made—And Kept Screen Scouts Re-discovered Beauty After Great Glorifier Had Rescued Her From False Film Start. (BIOGRAPHICAL FEATURE) Ann Sothern, lovely blonde leading lady for Eddie Cantor in “Kid Millions,’’ his fifth annual screen musical comedy for Samuel Coldwyn, currently at the Theatre, owes her present success to a Hollywood promise, made by the late Florenz Ziegfeld at a filmland dinner party three years ago. The promise was a role in a Zieg¬ feld show which the famous producer was planning, but she didn’t take the offer too seriously. She had been buf¬ feted around in the studios for two years and was aware that Hollywood promises are rarely kept. So, imagine her amazement when, two weeks later, she received a telegram from Ziegfeld in New York offering her the second lead in “Smiles,” starring Marilyn Miller. Trained for Music Career Ann Sothern was then Harriette Lake, the name by which she was christened soon after her birth in Valley City, North Dakota, January 2, 1909. The daughter of Annette Yde, a concert singer and voice teacher, and Walter J. Lake, a produce broker, she has never seen her birth¬ place, for her mother had merely stopped over there during a concert tour. Ann was brought up all over the Middle West but spent most of her school years in Minneapolis. She re¬ ceived daily musical training from her mother, who thought her gray-eyed daughter would become a musician. She learned to play several instru¬ ments and developed the lyric soprano voice which she uses so effectively in “Kid Millions,” the new Cantor film for release through United Artists. She also tried her hand at composing and won first prize for three succes¬ sive years for the best original piano composition at the Central High School in Minneapolis. She left Minneapolis for Seattle, Washington, and attended the Uni¬ versity of Washington for three years. In 1929 she came to Hollywood and secured a job as a dancing girl to keep herself occupied while her mother was teaching actors and actresses to speak before the microphone. Lost in Film Shuffle An agent saw her and succeeded in getting her a long-term contract with Metro-Coldwyn-Mayer, where the late Paul Bern became interested in her career. But there were so many prom¬ ising young players there that Anna was lost in the shuffle and she spent most of her time posing for publicity pictures rather than before the motion picture cameras. Then came the Ziegfeld offer and when “Smiles” opened in New York she was a hit. Important parts in “America’s Sweetheart,” “Everybody’s Welcome,” and “Of Thee I Sing” followed. Talent scouts for Columbia Studios saw her and after a test she was signed for the role of the circus attendant who becomes a screen star in “Let’s Fall In Love.” When Columbia executives deemed the name Harriette Lake too cold and formal during the filming of “Let’s Fall In Love,” she agreed to a change. It was Harriette herself who suggested Ann Sothern—Sothern because of her admiration for the late E. H. Sothern, and Ann because it is the first syl¬ lable of her mother’s name. Rocketed to Screen Fame The new name, plus a fine per¬ formance in “Let’s Fall In Love” rocketed the lovely blonde toward stardom and roles in “Melody In Spring” opposite Lanny Ross and other features helped. Ann is the eldest of three sisters. Bonnie composes music and popular songs. Marion writes fiction. Ann hopes that some day she can star in a picture written by Marion, with songs and music by Bonnie. She is descended from Cyrus J. Lake, inventor of the submarine and is the granddaughter of Hans Nelson, talented violinist. Her favorite diver¬ sions are reading — chiefly Russian history — playing the piano and prac¬ tising singing. She enjoys backgam¬ mon but detests bridge. She likes to shop and finds it difficult to resist new clothes and jewels, but wisely is building a trust fund—just in case. MURPHY GOriEAK” WHEN ACIOR FAILED Musical Comedy Star Makes Screen Debut With Cantor In “Kid Millions” (BIOGRAPHICAL FEATURE) George Murphy who makes his first screen appearance in “Kid Mil¬ lions,” Eddie Cantor’s fifth annual screen musical comedy for Samuel Coldwyn, showing . at the.Theatre, came to Hollywood from the New York stage where he scored in “Roberta’ and “Of Thee I Sing,” two of the out¬ standing musical comedy successes of the past two seasons. Born in New Haven, Connecticut, Murphy attended Yale, where his father, the famous Mike Murphy, was athletic director. Because his athletically-minded dad thought it would be good experience for him, he worked in the Pennsylvania coal mines one summer vacation. An ac¬ cident sent him to the hospital and when he came out the school year was well under way, so he started his business career in a broker’s office in New York. Danced in Night Clubs Always fond of dancing, he de¬ veloped his terpsichorean skill to the point where he secured an engage¬ ment dancing in a night club. He liked the work, it increased his in¬ come considerably, and being ambi¬ tious, the combination of the two jobs appealed to him. While visiting relatives in Detroit one summer he met a young society debutante, Juliette Johnson, who not only seemed to share his ability for dancing but also his determination for a stage career. In addition, he found her one of the most attractive girls he had ever met, so they formed the dance team of Murphy and John¬ son. Shortly after. Miss Johnson became Mrs. Murphy and the team became one of the most popular ballroom dance teams in New York, featured simultaneously in musical revues and at the smarter night clubs. Young Murphy tried to prove to Broadway producers that he could do more than dance, but received little encouragement until a stroke of good fortune took the team to London to feature a dance specialty in the Eng¬ lish production of “Good News.” Cot Break in London It so happened that the London producer was not satisfied with the young actor who had been brought over from America to play the juvenile lead and two days before the play was scheduled to open Murphy, who had been in the Broadway pro¬ duction of the show, was thrust into the role. His success was so emphatic that when he returned to New York Hey- wood Broun engaged him for a lead¬ ing role in his production, “Shoot the Works.” Similar star parts in “Hold Everything,” “Of Thee I Sing” and “RoEjerta” followed. He left the cast of the last-named after twenty-six weeks to go to Hollywood to play the juvenile lead in “Kid Millions” for re¬ lease through United Artists. Murphy has been placed under a long-term contract by Columbia Pic¬ tures. He is exactly six feet tall, has brown hair and Irish blue eyes and a grand smile. His hobbies are Bad¬ minton and raising Kerry Blue Terriers. Eddie Cantor had to work his way through four screen musical comedies for Samuel Goldwyn to the point where, in his fifth, he is allowed to kiss a girl. He kisses Ethel Merman in a story sequence in his fifth annual screen musical comedy, “Kid Mil¬ lions,” released through United Ar¬ tists and showing _ at the _ Theatre. As a first effort on the screen, Eddie thinks it sets him up as a romantic actor.