LAUGHTER WEEK

Sun (Auckland), Volume III, Issue 714, 13 July 1929, Page 12

LAUGHTER WEEK

COHEN AND KELLY AT THE MAJESTIC GOOD SUPPORTING FILMS It is laughter week at the Majestic —laughter that springs from the domestic hilarities of “The Cohens and the Kellys.” Here is a simple film, built on well-known situations, yet brimful of fresh humour, and headed by as strong a starring pair as motion pictures can offer. George Sidney, a comedian whose appearances are not frequent, may be

classed as one of the finest comedy character actors in pictures. His Jewish portrayals are always in excellent taste —always real, and never exaggerated. In this, his latest, he has just the right human touch.

His better-known and equally clever henchman is Charlie Murray, who plays an Irishman, as well as looking the part to perfection. Murray has an abundance of dry humour, mostly built on liis wonderful gift of facial expression, and his .host of admirers will agree that his work as Kelly in the Majestic’s new comedy is at least equal to anything he has given in the past. But Sidney and Murray are by no means the only pillars which raise “The Cohens and Kellys” so high among contemporary comedies. There is a cast of all-round merit, which shares the honours of the show. Kellys,” the Majestic presents a programme both novel and varied. First comes the Majestic fnagazine, with its usual budget of world news; then Eve’s Review, a beautiful fashion section, in colour; and, finally, a good comedy. “The Lotus Flower,” a beautiful stage presentation, was offered for the first time last evening Aliss Cecil Hall, assisted, by a number of clever soloists, and an excellent ballet. An alldanc'ing study, beautifully mounted and flawlessly carried out., it evoked full appreciation from every section of the audience. It was then that laughter began, for the reappearance of the screen signalled the opening of “The Cohens and Kellys” and the beginning of a delicious feud between two New York families. Cohen was a draper, and Kelly was a policeman. They lived in twin apartments, arid fought day and night. Then young Kelly fell in love with the eldest Cohen girl. They married secretly. That is only the opening of the tale. The fun begins in real earnest when Cohen falls heir to an immense fortune, and the Kellys decide to let bygones be bygones. The scene at. the telephone, when Cohen rings Kelly, is surely one of the funniest ever seen in the Alajestic. Then there is the memorable visit of the Kelly family, poor but proud, to the Cohen household, rich but suspicious. There is the affair of the crushed hat —another rib-tickling situation—and the episode of the baby with a “synagogue face.” All these are gems in a jewel of a picture. Vera Gordon and Kate Price are Mrs. Cohen and Atrs. Kelly respecively. Their work is delightful—in fact, it would be difficult to find throughout the whole of filmland two other women who could do anything like that justice to the script. As usual. Air. -J. Whiteford Waugh’s orehestra was in good first-night form last evening, and its *oro - SraiSg£» was excelled