CRIMSON PLAYGOER

Years ago, and there is no concealing the fact that it was indeed years ago, when musical extravaganzas were still graceful as well as musical, the name of Marilyn Miller at the head of any cast served to attract even anxious mothers and conservative fathers, with their families, to the theatre districts of the country. And, indeed, the refreshing decency of productions like "Sally", for example, with its well-remembered musical score, was a welcome departure from the customary rot which American audiences usually patronize.

On entering the world of filmdom, Miss Miller has added little to the old strings in her bow; in the current production at the Fenway Theatre it is the sunny smile, agreeable voice, graceful dancing, and attractive face of old that are used as a basis for the film. Music accompanies the Miller smiles, and a tuneful tango is danced by the heroine in a way that should be a good advertisement for travel in Spain.

Plot in this film is about as noticeable as in any musical show, with the scene of action shifting from a Berlin cabaret to a German ball bearing factory and then to the Lido Beach at Venice. A few short shots of Saint Mark's and the canals add a touch of realism to the film.

If plot fails to interest, and if Miss Miller's graces are not enjoyed, at least everyone should feel repaid for seeing the film as he watches the antics of W. C. Fields, that veteran comedian of the stage whose finesse and superbly funny acting is worth the entire admission fee. As a humble barber and former vaudeville and circus performer, Fields in this film finds himself at a fashionable dinner of the ball bearing concern. With calm mien and steady eye he uses the aerial route to pass two eclairs from one end of a table to the other. Both land safely, and this success spurs the guest on to additional tricks reminiscent of his younger days. Throughout his performance, Fields makes more use of actions than of lines, and his acting is certainly a treat.