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An authoritative guide to the newest talkie offerings
DIXIANA (RKO)
1AVISH sets, reflecting the charm and baronial splendor ^ of New Orleans in 1840, dazzling costumes of the crinoline period, and a cast of nationally known artists, all tend to lift this operetta to a place of its own as screen entertainment. Luther Reed, the direaor, has achieved perfect story continuity — a difficult thing in a mus^,eal offering.
But those who had hoped for another Rio Rita are due for disappointment.
Everett Marshall, Metropolitan opera baritone, who is seen opposite the star, Bebe Daniels, has a rich apd powerful voice, but he lacks that thing so vital to celluloid success— screen personality. The result is that Bebe appears straiied, and lacks that vivaciousness that marked her performance with John Boles in her earlier singing picture.
Much crude slapstick is injected into an otnerwise new and interesting tale to carry Bert Wheeler and Robert Woolsey through the production, in which the rather hefty Jobyna Howland serves as their buffoon.
However, it's good entertainment.
FOLLOW THRU (Paramount)
iFFERING the same zip, youthful exuberance and snappy humor that made it a stage hit, Follotv Thru is brought to the screen as a costarring carriage for Charles Rogers and Nancy Carroll.
The entire production is photographed in color. The background — a swanky country club — provides opportunity for lavish settings.
Through poor putting, Nancy loses the woman's golf championship to Thelma Todd, but is quick to forget the fact when she meets Charles
TALKING
Rogers, who has arrived as private instructor to the rich young Jack Haley. Thelma is furious as she watches the romance progress and seeks to check it through a series of wild parties and golf m.atches.
Nancy, after much instruction under Rogers, finally takes the title away from Thelma and there is a double wedding, but Thelma isn't one of the brides.
Zelma O'Neal and Jack Haley, both members of the original stage company, supply the brilliant comedy as they escape one ridiculous situation only to find themselves in another.
DANGER LIGHTS (RKO)
THE talkies have taken a broad forward step in the filming of this melodramatic epic of the railroad, and what the producers intended as a program picture has turned out to be a special. Louis ■Wolheim, who is starred, gives the outstanding portrayal of his career.
The story is powerful and is replete with thrills. There are many beautiful scenic shots in the production.
The rumble of steel wheels as they carry trains at a speed of more than a hundred miles an hour, the tooting of engine whistles,' the hiss of steam and the crash that accompanies the wreck all tend to make the iron horse a dominant factor in the industrial and economic life of the country — a living, breathing thing for the first time.
Giving more than capable performances in support of Wolheim are Jean Arthur, whose affections are the objea of the desires of both the star and Robert Armstrong, a "boomer" engineer, and Frank Sheridan, Hugh Herbert, in the role of a tramp, affords much laughter.
The whole story runs along smoothly, and if you like the roaring rails you'll like this.
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