"OLD CLOTHES."

Press, Volume LXIII, Issue 18923, 11 February 1927, Page 6

"OLD CLOTHES."

A JACKIE COOGAN PICTURE. The eternal Peter Pan it- with us once again, after an interval of nearly a year. With renewed vigour, with fresher technique, with a more tender pathos and a more amusing type of comedy. Jackie Coogau is to he presented in "Old Clothes" at the Liberty Theatre next week, and, incidentally, will mako his appearance in what is undoubtedly the finest photo-play of his brilliant career. A picture starring tMs child prodigy always offers an inducement to excel oneself in tlio use of adjectives and the like, but the danger arises when even glowing phraics and the most elegant turn of expression looses all meaning, because there have beeu so many great productions exhibited of late, so many Alms that make a universal appeal; thero has been screened so much excellent drama and equally excellent comedy that the euphemistic words of publicity often convey no import to the popular mind. But such misgivings should bo an unknown quantity where "Old Clothes" is concerned. Patrons, we imagine, know why. Tho productions of this merry little star may possess every attribute of perfect entertainment, hut they possess what no other picture can ever hope to do, the pathos and the humour, the drama and the everlasting appeal that is the personality of Jackie Coogan. And this personality is always a vibrant factor in the success of his films. It makes "Old Clothes," which is ono of those human, homely Httlo dramas which may work out their fate any time, any day. any place, just a delightful story of the well-known character, tho Irish waif, and another famous person, his Jewish friend. These two firit came together in "The Ragman," most unusual of business partners with the most unconventional methods of transacting business, but through strategies and spoils and not a little brisk iiigentiity. mainly on the part of Tim Kelly, the Hibernian complement of the tirm, it iu a flourishing concern before the final fadeout, with a dash of romance and a lursn quota of thrilling incident to balance the tout ensemble of the picture. Much of the humour is contributed through the medium of the sub-titles, which arc cems of purest and cleverest wit. "Arc You Max Ginsberg !" The retort courteous comes swiftly from affronted lips. "Do I look to you like RinTin-Tin !" There is not a dull "moment in this excellent and diverting piece, which, besides the faultless, acting of Jackie Coogan. lias the presence of Joan Crawford to lend it beauty and brilliance. Max Davidson is again the main support of the star, just as he was in "The .Ragman," and he is a baffling mixture of unalloyed drollery and dismal discontent. The box plans for "Old Clothes" are now open at The Bristol piano Company, where seats may lie reserved.