The Washington times., 1933-09-02

stage atmos-
Andrew X. Kelley phere that is
as genuine as a surly stage hand.
This is the story of the Hackett
Samily-three generations Of 'em
and their careers are followed
through from the days of Tony
Pastor of the late SOS to the
swimming pool prosperity Of mod
ern Hollywood. Their ups and
downs, their sorrows and joys.
their dressing room quarrels and
their boarding house life, the step
up to musical comedy and finally
the call of the studios.
Vaudeville Family
Only Willard Mack who has
lived and trouped with these
people could have told the story
of the Hacketts. 1t bears a re-
Semblance to the history of the
Cohans or the Rooneys or those
family names which have been on
the stage annunciatorS since vau-
deville was born.
You are introduced to the
Hacketts as the star song and
dance team at Tony Pastors. The
husband Drank Morgan has a
we'll trained eye for pretty girl
and a trim ankle. His wife
(Alice Brady loves him in spite
of his flirtatious faults, but keeps
him away from temptation by a
sharp supervision and the affec-
ton for his baby, a kid literally
born in the dressing room.
Soon the Hacketts. become the
Three Hacketts, for the boy
(Jackie Cooper has reached the
age where he can tap out a buck
and wing and is the mainstay Of
the act. Later Weber and Fields
decide to sign up the lad for
revue. Pa and Ma are taken
along as compliment to the
youthful dancing star. They real
ize they are excess ballast, turn
in their notices, and go back to
the small time with their dancing
act.
Tragic Ending
Meanwhile the younger Hackett
has become musical comedy
star, married to the other half of
the team (Madge EVans), and is
prospecting. But he philanders,
breaks his wife's heart by his
Straying and caused her suicide.
Rum gets him and finally he goes
to the World War to become a
tragic victim. But he leaves be-
hind another Hackett to carry
on the name and stage tradition.
The third generation Hackett
(played as a groWn-up by Eddie
Quillan) joins his grandpa'S act
but soon discovers the team is
passe and that engagements are
hard to find. So he tries his luck
in Hollywood, hits, and brings out
his grandparents. Here we have
q touch of Hollywood mania, its
excesses and excitement that
threaten the career of the promis-
ing Hackett. Grandpa takes hold
and in a breath-taking scene re-
minds young Hackett the family
have an honored name and repu-
tation in the theater. They never
missed a curtain, never ran out on
producer. The boy learns his
lesson and the picture fades out
on q sad note as Grandpa Hackett
answeres the last call.
Alice Brady and Frank Morgan
carry through from the first
chapter to the farewell flicker
and serve gloriously. This pic
ture will establish Miss Brady as
one of the leading character
actresses of the industry. Actor
Morgan is little heavy-footed for
a hoofer, but you will find that
he can pack a tremendous punch
for his dramatic scenes and gives
Alice Brady just the right service
to make her brisk comedy register
brilliantly.
Musical Background
That superb little actor, Jackie
Cooper, is on briefly to give the
early sequences lusty Wallop.
Best of the others is Eddie Quill
Ian. Jimmy (Schnozzle) Durante
makes brief but effective ap-
pearance and May Robson has a
bit that registers solidly. Madge
Evans has but little chance and
Fay Templeton appears to high
light a group of old-time melodies.
There is just enough music to
make the interludes melodiouS
and just enough spectacle to &C.
centuate the musical comedy
background. broadway to Holly
wood" is essentially a stage story.
I think the best one ever told on
a motion picture screen.
On the supplementary program
Is a droll short, "Handlebars," "
giving the history of the bicycle
in humorous fashion. A Laurel
and Hardy comedy and the Hearst
Metrotone news reel completes
hanoJ1o ontnrt inn0ant