Evening star., 1938-01-22
Racing Story
Offered at
Capitol
New Child Star
introduced in
Amusing Film.
TT WAS too bad that Metro Gold
Wyn-Mayer and Freddie Barthol-

TT WAS too bad that Metro Gold
wyn-Mayer and Freddie Barthol-
omew were at swords (or dollars)
L points last summer when the
studio was casting "Thoroughbreds
Don't Cry which yesterday became
the screen attraction at Loew's Capt.
tol. 1t is not inconceivable that young
Bartholomew might have cast a spell
over audiences which would make
them think the film is better enter
tainment than it really is. Ronald
Sinclair, although he has somewhat
the same clipped speech. is consider
ably less of an artist than Aunt Milli-
cents clever ward and although he
strives valiantly, he does not strike so
hard at the hearts of his audience. 1t
is that kind of acting this familiar
story needs.
"Thoroughbreds Don't Cry" has it's
entertaining moments and its vagrant-
ly emotional ones. but credulity Is
staggered by the idea Of mentioning
1t in the same breath with Cap
tains Courageous" last of the Metro
ventures in Juvenile. It's heart appeal
is roughly only one-tenth as strong,
and that Director Alfred E. Green
knew it is evident in the circumstance
that he twisted it into the channel
Of farce.
Young Sinclair who came to this
country, duty free no doubt, from New
Zealand is up against some pretty
tough competition from two other
youthful performers in the picture.
They are the staggering Mickey
Rooney and the promising young Judy
Garland, both of whom turn out to be
more appealing figures than the right
full hero Of the picture.
In the course of working out its al
ternately laughable and cryable situa-
tions. "Thoroughbreds Don't Cry" un-
dertakes tc disclose some of the
phoney doings of the lower strata of
race track society. It also pits the
poor little rich boy against the tough
little poor boy, played respectively by
Sinclair and Rooney Its most moy-
ing as we'll as it's funniest moments
are those which take them from
natural enmity Tin the form of black
eyes) to a less natural understanding
based upon the circumstance that
both are waits in a cold, cruel world.
The twist Of fate that brings them
together involves young Sinclair in
the ownership of a race horse and Of
fers Rooney d the best apprentice
jockey in the United States. Rooney
rides Sinclair's horse, throws his first
race for the love of a worthless father,
and keeps from losing caste with
you) thereby through the twin acts of
getting. enough money to enter the
horse in the American Cup Derby and
telling the young owner how to ride
the animal to victory. The story is
pretty we'll blocked out for every one
every step of the way, SO there un-
doubtedly is no need for further reve-
lations of Lawrence Hazards plot
Young Judy Garland is given
passing fair chance to show her abil-
tiles both as an actress and singer
in "Thoroughbreds Don't Cry" and
she makes good in both capacities even
If she does fall short Of brilliance.
Beyond that, as to Interpretation, the
picture is notable for its introduction
of Sophie Tucker in a straight role, in
which she does not sing a note, but
contrives to be amusing as the mistress
OF boarding house specializing in
jockeys.
X X
THE Capitol's stage bill is a nicely
balanced affair, high-lighted by
the presence of Milt Britton and his
merry mad musical maniacs." Slap
stick plus swing, with the emphasis
upon the former, is their contribution
to the program. It is designed to give
the audience pleasure rather than to
leave it hysterically moved and 1t
achieves Mr.. Brittons purpose well
enough.
Senator" Ford, the usually reliable
monologist whose comments on current
events have been the satisfactory. por-
ton of vaudeville audiences for dec
ades, Is in the next-to-closing spot on
the vaudeville bill. His narrative COW
ers the territory from Washington to
Spain and thence to China, the most
amusing section Of it being that re-
lating to local trafiic.
Most popular of the four acts seemed
to be that vocal interlude provided by
Dolly Kay. late Of Hollywood, who
syncopated throatily through several
popular numbers, most popular of
which dn every possible way) was "Bei
Mir Bist Du Schoen."
Lights and Shadows" . composite
Of the dance, the song and the piano
number complstes tAe bill. &c.
E