CLOWNS IN CLOVER

Sun (Auckland), Volume III, Issue 829, 25 November 1929, Page 15

CLOWNS IN CLOVER

“THE COCOANUTS” AT THE REGENT HILARIOUS MUSICAL COMEDY Four clowns in clover. That describes the Marx Brothers in ‘'The Cocoanuts,” their first talkie, and a Paramount musical comedy special. They are an immediate success and their future, if they choose to remain in sound pictures, undoubtedly is assured. Yet before these quaint comedians with their delicious drolleries make another talkie, it is to be hoped either that microphones are improved or that the chief “wise-cracker” of the party learns to give that sensitive little contrivance a sporting chance The “mikes” have pretty well mastered ordinary speech, but what is any self-respecting instrument to do when a solemn-looking dynamo of mirth hurls forth pun after pun, gag after gag. and jest after jest at a rate so prodigious that the effect is one of a continuous spate of mirth? The result in the Regent on Saturday evening was divertingly unusual. The microphone, represented of course by the reproduction apparatus, carried on doing its brave best, but it was not human and could not pause for laughs. One found oneself choking back laughter at joke number one in order to catch the tail end of joke number four: similarly, joke number 236 was dawning on the back stalls at the precise moment when its remarkable retailer supplied the point of wise- ! crack number 300. So it went on, becoming more and more joyously tangled until the audi- | once as a whole contented itself with ' laughing uproariously and riotously all | the time. ! The .Murx Brothers leave one in suc h j a confusedly-delighted state that it is impossible to be specific about the individual members of the quartet. He of the cigar and absurd black moustache is responsible for most of the dialogue humour. His delivery is so fast that, by comparison, Mr. Georg* (lee is a deliberate, weighty speaker. The scene wherein Marx defines unigator pears for the edification of a snobbish woman of uncertain years is the most uproariously funny scene witnessed since the introduction of talkies. The brother who plays “dummy" is a specialist in pure clowning. His work as a slapstick comedian, contrasted with brilliant moments as a harpist, is by no means of a new order, but the originality of his “business” is such that his absurdities literally compel laughter. The grotesque inanity of his motor-horn walk-ing-stick alone produced squeals of delight on Saturday evening whenever he appeared. The two remaining brothers are foils, but experts in that subtle art. One is a comedy, pianist of fascinating cleverness. "The Cocoanuts” as a whole is pure, musical comedy: one of the best yet produced and certainly the best thing i of its kind from the Paramount

manager - - - junri studios. There are hosts of original j and colourful scenes, dozens of pretty J girls, a sprinkling of graceful dancing ensembles, and some catchy music and song numbers. j Mary Eaton, a leading lady with a } good voice, heard at its best in “When j Mv Dreams Come True." and th< ability to dance and act. plays a prom in- j ent part in the slender thread of story, j She is supported by Oscar Shaw. Still it is the Marx Brothers, and : they alone, who paste the “Too C.ood to Miss’' label on “The Cocoanuts." A varied and exceedingly attractive short subject programme was included , on the Regent bill on Saturday evening and will be presented during the coming week. A fine quartet from , “Rigoletto,” a Pathe review and a talking comedy, “Post Mor terns," are special features.