"52ND STREET"

Evening Post, Volume CXXV, Issue 24, 29 January 1938, Page 13

"52ND STREET"

HUMOUR, MUSIC, & HISTORY

It is seldom that, a musical' comedy flf the screen, featuring the night life o.' New York or any other metropolis, seeks to do more than entertain the patrons of the theatre for the requisite hour or more with the latest in "swing" music or the newest in dance steps. "52nd Street," now showing at the. State Theatre, accomplishes quite a lot more:

I.L the first place it makes a very successful attempt to portray the history of a New York district over two generations. Dovbtless it would be brought home to one if one happened to be a citizen of America's largest city, but it is clearly enough defined in the wicture to .afford enjoyment and instruction to all. The scene opens in 1913,' when 52nd Street was one of New York's most aristocratic neighbourhoods. This is illustrated at the beginning of the story when an itinerant accordion player, on being moved on by a patrolman, attempts to'show his licence to play on the streets anywhere in the city. "That's no good," says the patrolman. "This is not New York; this is 52nd Street."

Prohibition brings a change, however, and "speak-easies" spring up and flourish amid the shriek of jazz and sirens and the clamour <of patrol wagons. Many people who made their names as enterainers on the "street" are shov/n re-enacting their rise to prominence. A ceaseless war is waged* between the entertainers, \*ho claim that others have stolen their "breaks," and the owners of rival establishments. What is probably one of the most good-natured street fights ever to be brought to the screen is pursued to its logical conclusion. All this time, two branches of the Rondell family, the flower of the old-time aristocracy, linger on. At last pressure is brought to bear on them from unexpected quarters, and the resulting "speak-easies dwarf the others into insignificance. Interwoven with all this is the story of Rufus Rondell, scion of a wealthy family (lan Hunter), who defies his family \o marry a beautiful actress (Maria r)helton), and so incurs the dis.plsasure of his two maiden aunts. He continues tr live on the street, and on the death of his wife, proceeds to educate his daughter as a lady. She has other ideas, however, a.nd calls in the help of her mother's friends to realise them, .■ , ■ ■ • . ' ■' ■ Full acting honours go to Leo Caisnlo as the chef and accordion" player par excellence who is always in trouble over- the English language.. There are times when he definitely steals the show. < Lan Hunter as Rondell, Maria Shelton as his wife, and Pat Paterson as their daughter are.all convincing. . Kenny Baker acts the part^ of the son of. Fiorello, the chef, who lays successful seige to the heart of Pat Pat.rson. He has a splendid voice which is not discouraged even when' he is hit on the head with a flower pot. Zasu Pitts excels herself as the maiden aunt who has always wanted to sing. Others of the. many who brighten the picture are Sid Silvers, Jack White, and Ella Logan,.: bet-ter-known on Broadway than on the screen. ~'■■' The supports, which include:, .newsreels."a travelogue featuring Venice, a popular science feature, and a comedy, are" excellent.': . ; ..- :'