“FIREMEN, SAVE MY CHILD”

Sun (Auckland), Volume I, Issue 218, 3 December 1927, Page 15

“FIREMEN, SAVE MY CHILD”

WALLACE BEERY AS COMEDIAN Wallace Beery is that most delightful of artists—a comedian who never forces his work. Time was, and not so long ago, either, when Wallace Beery was inevitably cast as th© “heavy” man. His artistic light was hidden beneath this bushel. It took a director with a little more discernment than usual to discover Beery’s undoubted penchant for comedy. “Fireman, Save My Child!” screened last night at the New Regent Theatre, is a worthy successor to “We’re In the Navy Now,” that rippling comedy from the Paramount studios in which Beery and Raymond Hatton were featured some time ago. Wallace Beery is again cast as an ungainly, dull-witted, be-spectacled Swede. He was particularly amusing in the opening scenes at the village school where he met Raymond Hatton for the first time. His companion, curled and garbed in those falderals which little Lord Fauntleroy imposed upon so many rebellious lads of his own age, was more than a match for the slow-thinking Swede. It was not until they joined the fire brigade, however, that the fun really commenced. Adventures followed as quickly as in their naval career. If anything, however, “Fireman, Save My Child!” is even more laughter provoking. For instance, the muddy street wherein the pretty daughter of the fire chief was bogged in her motorcar. Beery and Hatton arrive with every available fire-fighting appliance to rescue her. “Walk across that street? No! certainly not. It is too muddy!” announced the indignant Swede. “Very well, Queen Elizabeth!” Hatton, following the example of Raleign of old, placed his tunic on the ground. Wallace Beery smilingly descended from the fire-engine, stepped on to his friend’s “cloak,” and —disappeared in a hole at least six feet deep! “Fireman, Save My Child!” cannot be taken seriously. It is genuine farce. Yet it nobly serves the purpose for which it was created—it makes people smile, provokes a giggle and then comes laughter, free and unrestrained. Undoubtedly the Beery - Hatton combination is one of the finest comedy partnerships to-day on the screen. Bradford and Russo, operatic stars, made their initial appearance in an artistically presented act. Their "Ernani” duet was followed by solo offerings. The baritone sang the “Toreador Song” from Carmen, and Toselli’s beautiful “Serenade.” The success of the latter, however, was somewhat marred by the desire of a small child in the audience to make it a duet. Nevertheless, it was like all the work of the visitors —decidedly artistic. Miss Bradford contributed “A Fat Little Fellow With His Mammy’s Eyes,” and they concluded with the spirited duet from “II Trovotore.” Maurice Gutteridge and his orchestra were responsible for the “Bohemian Girl” overture; Eddie Horton featured “What Does It Matter” and the “Barcarolle” (“Tales of Hoffman”) < at the Wurlitzer; and a comedy, and’ the Regent News, depicting Lindberg’s remarkable welcome in New York, and the reception of Chamberlain and Levine in Berlin, completed an exceedingly palatable bill. Edna Titchenor, a Los Angeles society girl and a “discovery” of Tod Browning, the director, has been added to the cast of “The Hypnotist.”