Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-06-01

and curt dialogue that made Kath-
crime Brush's story such a success
could not have been such an easy
job. But once again the director has
weeded out the most significant lines
and the most amusing situations and
handed them over to a cast that
never lets them down. The process
Of transplanting has been done de-
lightfully, and the result 10 dis.
tinctly worth seeing.
The plot really doesn't matter. It
is the characters that build up the
interest. One likes Ann and Toby
Mclean from the beginning, because
they get married after a few" hours
acquaintanceship; because they live
the kind Of life that one can readily
imagine newspaper writer's live, and
because their mode of expression Is
different from the everyday run Of
things.
AS portrayed by Claudette Colbert
and her neutrality-suspicious. husband,
Norman Foster, the slimest scenes
seem to wax into Importance. Ger
tainly. the style Of acting of this
couple is more natural than what
one has become accustomed to in the
movies. Mr.. Foster may not be
matinee idol, nor Miss Colbert o
Greta Carlo. Both of them, how
ever, are blessed with a sense of
humor, and that is a rare, rare
thing in the land of the Kleig lights
and the megaphone.
Charles Ruggles can always be
depended upon to make the most of
his role, as he does in this film. OF
special interest to WaShingtonians
should be the worthy doctor who is
responsible for curing the heroine,
because he Is no less than our own
H. Dudley Hawley, now appearing
weekly and successfully with the
National Players on z street.
The stage show is almost as brisk
as the feature picture. Jack Sidney
and his 1880 Frolickers are the par
Elephants in this revue, aided by
Erner and Fisher original dancers;
the Slaice Brothers, adagio dancers;
Marie and Antoinette and Freddy
Byron and Doris Robbins. The
Hearst Metrotone News, the organ
and the orchestra selections COM
plete q bill that is certainly worth
attention before the week is over.
Z. de S. M.
THE Arizona Kid"
Gives Baxter Another Chance.
THE Fox Corporation, remember
ing with pride tn Warner
Baxter was donated a blue ribbon
for his performance in that silent
but strong picture of the outdoors,
I'm Old Arizona" have produced him
again in what is supposed to be
talkie sequel, which they have called
1.-THE Arizona Kid"
True to the good old Hollywoodism,
which says "if a man does something
fine once, he must do 1t over and
over again." Warner Baxter appears
as dashing caballero, over whom
women fight, scream and scratch
each other. 1t is cut on the pattern
OF the usual Western picture. 1t has
blond heroine and brunette vixen,
a dance hall, card game, guns, of
course, and some very beautiful
mountain scenery. Notwithstanding
the detailed and picturesque scenes,
however, 1t seems, on the whole,
overladen with things that have been
done many, many times before. In
deed, 1t winds itself out lengthily and
sometimes monotonously.
THE Arizona Kid" for whom there
is a reward Of SIS 900, Is the hero of
whom o. Henry had such a lot to
say. He was better, however. on the
printed page than he is in the film.
Warner Baxter does some credible, If
not blue ribbon, acting, annexing all
the attractive women he can find
in the State. Mona Maris gets her
usual raw deal, and Carol Lombard
Is insipidly blond as the heroine. In
other words, o. Henry, does not get
as good break" in the talkies as
he did In the silents. It is a run-of-
the-mine picture, done with no great
strain upon the imaginative powers.
Let's Pretend" the new Fanchon
and Marco stage show, is earnestly