The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1929-11-11
RIO RITA HAS
EVERYTHING
TO PLEASE
By ANDREW r.. KELLEY

operetta, Rio Rita" has been
literally lifted from the stage
to the motion picture screen
and aided by the art which
makes an accompaniment for
the cameras wizardy COM
priSes first class entertainment.
Musical comedy sacrifices a
certain amount Of story illu-
sion through conformity to
processes which necessitate fire.
quent halts while a bit Of
melody is tossed into the &C
ton. Audiences accept 1t as
tuneful implausibility. The
motion picture clientele will
ing to admit these same incon-
gruities as entertainment IL
cense, will find "Rio Rita" q
satisfying exhibit, even though
John Boles with his neck in
danger, stops outside milady's
door to MARBLE Sweetheart We
Need Each Other" A romantic
Texas ranger after his man
could only act that way by
voiding all the rules Of the
detectives union.
What will prove an agreeable
surprise to the experienced
movie-goer is the facility re-
vealed by Bebe Daniels in this
feature-current at Keith'S
Theater-in travelling neatly
from the ranks of a light com
edy mime to the more exacting
demands of a musical prima
donna. Even as Ethelind Terry
was gorgeous in the ziegfeld
production, so Bebe trumpS
that performance with vocal
ace. Bebe can sing and there
was never any dispute about
her ability to project a role
convincingly for the camera.
think 'sRio Rita's" appeal and
ultimate success as a picture
will justify Miss Daniels will
ingness to pay 100000 to buy
up her Paramount contract,
that she might find a surround
ing where her singing voice
could be demonstrated as a
screen asset.
The story Of Rio Rita" is as
fragile as most musical plot
tings. It is about a super-ban-
dit, called the Kinkajou, who
everybody believes is Rio Rita'S
brother, although he Is really a
Russian yeggman. Suffice that
John BoleS, as a courageous
Texas ranger, gets him in the
end and also the girl Of his
heart.
It was picturesque and color
full operetta as evolved by Zieg-
field and Radio Pictures has pre-
ferred to follow the background
and settings of the original.
Scenes in Technicolor in the
closing sequences add distinctly
to its beauty.
John BoleS has perhaps the
best male voice yet revealed by
the sound pictures. He is not
much of an actor, preferring to
be a posing Romeo, but as in
Desert Song" he delivers i'm
preSSively when his moments
become vocal. I want to see
Rio Rita" again, if only to hear
the Rangers song, which is >ro-
bust melody, and the barber
shop chord at its very best.
THE Kinkajou," IF You're in
Love You'll Waltz" and "Rio
Rita" are other numbers in the
Harry Tierney score which make
a pleasing assault on the ears.
The comedy of Rio Rita" is
precisely the same as in the
stage presentation, which means
very good. For this Bert Wheel
er can be thanked. The apple
munching comedian is helped
considerably by Robert WoolSey.
Georges Renavent, Dorothy Lee
and Don Alvarado play the
other important roles accept
ably There is a large Pearl
Eaton dancing chorus and the
ensemble singing is distin-
guished for fine melody. I found
Luther Reeds direction slow
paced at times but otherwise all
that could be desired. The re.
cording at the first Saturday
afternoon screening was perfect,
as noted from the sixth row
center on the aisle. 49,