Evening star., 1935-04-20
.TOLSON FILM
is SONG.AND.
DANCE AFFAIR
Big ChOruses and mtri.
cate Stepping Featured.
Keeler, Morgan Assist.

Like the Ola woman VINO LIVED IN
the Shoe. Go Into Your Dance" the
picture at the Earl this week. has its
moments. 1t also shares with that
legendary lady a weakness for having
too many bright young things around
the place, although 1t Is doubtful II
the Old Woman allowed her young
sters to grow up to be chorus men
and chorines.
Virtually all the moments boasted
by Go Into Your Dance" center
around Al Jolson, cast with deadly
accuracy as nanny singer. and
Ruby Keeler, also perfectly spotted
in the role of dancer. Undoubtedly
Warner Brothers expended large
amounts of money, time and talent
in assembling this elaborate vehicle
for two Of their pet stars. 1t Is also
a sure bet that they could have ac-
complished as much, or more, by
dealing with stingy hand and con-
centrating on Jolson. Miss Keeler.
Patsy Kelly. who pops up now and
then to gobble the brightest gags In
the script. and Miss Helen Morgan.
who for some reason insists on singing
her latest ditties with her hat on.
The economy program might have left
a lot of extras without a gypsy set
to dance on, but we imagine it would
have made some of us much happier
indeed.
Hollywood passion for intricate and
pointless dance routines. camera tricks
and dreamland settings in the mu-
steals is inspired by nothing more than
pure boredom We have a definite
feeling that If the Brothers Warner
can afford to toss in so chorines where
10 would do, they can also dig up the
money to replace all the collars We
split yawning during their so-called
big scenes.
We also maintain the surplus popu-
lation cutters up the place and diverts
attention from their really excellent
principals. In Go Into Your Dance, "
for example, you are offered Mr.. Jol-
son, the Nations leading nanny
yodeler and a good blackface come
dian: Miss Keeler, who does more and
better dances than ever before, but
often gets smothered under the ac-
cessories in her scenes; Miss Kelly,
who Is funny in any language, and
Miss Morgan, still ace high with a
torch song, hat or no hat. Hanging
around with these people is fair way
to spend an afternoon. When the
dance directors shock troops move in,
however, we'd as soon beat it until
the smoke clears!
Miss Keeler's performance In this
film Is cards and spades above any
other in her record. She goes into
her dance more times than We can
recall Tipping of a dash Of highland
fling. whirl of fandango, bit of a
jig and some clever dime a dance"
stunts. Her acting is improved and
there was room for that, too. MIR. Jol-
son is at his best under the charcoal.
but in his straight scenes he does
much to overcome a harsh speaking
voice and the fact he does not appear
to advantage before the camera.
The plot Is worth just about as
much mention as 1t has had so far.
Something about a Broadway jazz
singer who gets blackballed by pro-
ducers, makes his comback with the
little girl who adores him from afar,
suddenly realizes he loves her. She
gets shot while he is finding out, but
it doesn't hurt very much.
One of the best balanced vaudeville
bills in recent months Traces the Earle
stage this week. The hour opens with
the pleasing Three Little Words, q
modified version of the Boswell sisters,
who have been booked for an indefi-
mite stay at the house; a rattling good
skating act called the Three Cossacks
is in the two spot; Bob Hall, the
versifying comedian, Is In at No. 3.
and Miss Oracle Barrie, held oyer for
a third week. delivers the goods again
with some ballads of a fretful age,
rendering them this week without the
mike The program closes with the
Donatella Brothers and Carmen. q
satisfactory musical aggregation.
Even Miss Audrey Seiber, always the
most refreshing item on any Earle bill
of fare, has acquired special series
of pert gowns In honor Of this gala
week. r. B. p. Jr.