Evening star., 1935-09-14
Joe Brown Is
New Success
InMusicROle
bright Lights" Gives
Him One of Shining
Films of Career.

M hOENER IL was on lne WdTneT
Bros. lot who conceived the idea
of casting Joe E Brown as a singing
dancing clown in a musical (at least
a semi musicaD film, should be awarded
the Cross of Honor, with full quota
of palm leaves. For Bright Lights"
which yesterday was installed at the
Earle. gives the man with the mouth
his best role in many a moon.
Joe is a song and dance man at
heart-he came to Hollywood from the
New York musical stage-and there
fore shines at his best when he is
allowed to use these talents (Which
have not been used since his early
films, in addition to making queer
noises and sad faces.
His dancing consists merely of
tap number with Ann Dvorak and
solo eccentricity. and his singing efforts
are devoted principally to various
yodelings of ditty about girl who
was only an Acrobat's Daughter"
but his entire performance will win
over many good folk who heretofore
have ardently disliked the Joe E.
Brown brand of comedy.
In Bright Lights" Joe is seen at the
outset as a burlesque comic. teamed
with his wife, touring the tank towns
He gets his break and scores in a New
York musical, after the producer re-
places his wife in the act by society
gal. The situation is such that wifey
goes back to the burlesque outfit. Joe
then falls in love Tor thinks he does)
with the debbie in the act; writes his
wife telling her all; discovers his
society canary enamored of another;
then chases his air-mail letter to his
wife, arriving too late, but bringing
about the happy ending anyhow.
That's the story, and if 1t sounds
like the plot Of the great American
movie you won't recognize the great
American movie when it comes along,
but this little tale certainly provides
opportunity for unrestrained buffoon-
cry which is just about continuous.
Mr. Brown and his cohorts cause an
almost endless string of healthy guf-
flaws which start way down deep
somewhere and give you aching sides.
1t all is merry slapstick and about
as subtle as Mack truck, but there
is variety to the clowning. Joe's OBJ
streperouS comedy is counterbalanced
by the inimitable, suave and re-
strained humors of Arthur Treacher,
by Joseph Cawthorn's difficulties
with the kings English and his usual
good job, and by the dry wit Of Will
liam Gargan.
High lights in the dizzy affair are
the depictions of Joe's comedy act, all
of the scenes with Mr.. Treacher, Joe's
heckling over the telephone of Mr..
Gargan, the episode where Joe is
juggled by the Maxellos, and his mad
chase after his letter to his wife. The
other principal performers are Ann
Dvorak, who is plenty good, and Pa
tricia Ellis who is adequate. BuSby
Berkeley directed and has not sin
gle pinwheel of chorus girls. Thanks,
Mr.. Berkeley.
The Salici Puppets head line the
Earle stage show with a miniature
stage revue of their own which is
tops in entertainment value. The
marionettes sing, dance and clown
with gay abandon. You will like best,
probably, the chap who plays the
piano and clowns while soprano doll
is engaged in delivering an aria he is
supposed to be accompanying, and the
orchestra guided by frenzied leader,
but you will get an immense kick out
of every single bit of the Salici per-
formance. The puppets are manipu-
lated with a percision that's almost
unbelievable and are very handsomely
made The redhead on the right in
one of the last numbers is beauty.
Can she go out at night, Mr.. Salici?
Paul Sydell and a pair Of clever
pups are other reasons why the Earle
stage bill is full of entertainment. How
that man ever trained those dogs to
do the things they do in one lifetime
is mystery, but he did, and you will
marvel at Spotty's muscle control and
sense of balance.
The bill Is opened by the Foy,
Tucker and johnson revue, a display
of dancing which is different and
mighty good. The Radio Aces do scat
ruin Dark Eyes" and perform
limitations. They receive a terrific
hand from the audience and we will
appreciate 1t II somebody will tell US
why, H. M.