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The Crimson Playgoer

"Personal Appearance" Wherein A Screen Temptress Doesn't Quite Get Her Man

By S. M. B.

If you hove not seen "Forty-Second Street," "Gold-Diggers of 1933", or "Footlight Parade", you will enjoy the long, elaborate dance numbers, interpolated gags, and songs of "Wonder Bar". The plot, which is, of course, unimportant, includes an affair, a stabbing, a suicide, and a happy ending.

Al Jolson sings well but sings about three times too often; he brings in his gags self-consciously as an amateur vaudeville performer. Dolores Del Rio dances beautifully. Ricardo Cortez as her dancing partner looks like a hard, bad man; we like him better smiling. Dick Powell in a serious revival of his humorous part in "Blessed Event" is a singing, composing orchestra leader faintly reminiscent of a well-known insecticide. Kay Francis as a banker's lonely wife looks too gloomy. Louise Fazenda with her setback coiffure provides some good laughs, while Guy Kibbee and Hugh Herbert are conventional chaperoned husbands.

"The New Revue" on the stage is an improvement on the screen show, its brightest moments being provided by the radio singer, Grace Hayes and her vocal imitator son and the three Slate Brothers with their remarkable adagio dance.

The climax of the revue is the performance of Lottic Mayer's Diving Beauties, who first wade into a tank, where they disappear, and then emerge to give a diving exhibition. The woman sitting in front of us reviewed it by gasping, "Oh, ain't it beautifull."

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