Judge — November 22, 1930 — page 22: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

IWS GAN G THe nx the newly gilded shell of what once was an honest Radio Pictures and the Pepsodent Company produced what David Sarnoff mildly terms another milestone in the era of electrical en- tertainment. It is called “Cheek and Double Check,” this new milestone, and it features Amos and Andy. 1 have heard these oracles just once over the radio and then only be- cause a very charming lady grabbed me by the arm, tore my mignon away from me, and hustled me from the table to the radio. I'm not a psyehi- atrist, so [ cannot explain this mad- ness on the part of otherwise sible people. I know that Amos and Andy did not seem funny to me, and I can laugh easily at any blackface act. I used to attend Al Field’s Minstrels seven days hand running and even now like to impose Bert Williams’ songs on amiable martyrs. Although I know one feeble negation is not go- ing to send the Pepsodent directors into a dismal conference nor send peo- ple skulking away from RKO thea- tres, I can note that if the toothpaste minstrels no funnier over the radio than they are in “Check and then this particular ne should be practically price burlesque house or else, what appears more rea- sonable, the country is not basically sound in the head. Radio is not to be congratulated so much on the merits of the milestone they so generously drop amid the gar- bage of time, as the manner in which they unveiled it. ‘The meatiest blonde who ever wriggled room and board out of the old Columbia might h: ground herself into sausage and never achieved -tenth the tumult pro- duced by the ermine claque that claimed “Check and Double Check When Andy told Amos (or whichever the hell they are) to change a ti because he was tired, the four hun- dred rose up and cheered for three minutes, but when Amos, or Andy, finally made Andy, or Amos, help him, and ‘actually changed the tire, it JUDGE By PARE LORENTZ like the Chicago crowd the unney took the long count and diamond shirt-studs went flying over the house like hail. Of course it was not all just good rib-breaking fun that Radio has re- corded for all time. Amos, or Andy, made a speceh that showed the depth of feeling beneath all the tinsel and gaiety, the tragedy that lurks in the heart of those gallant fellows who, for a few hundred thousand dollars, yrim- ly make the country toothpaste con- scious night after night when as a matter of rather be act they probably would plowing virgin out where the quail whistles for its mate and grandma sits serenely by the fire, stirring the mash. Andy, or Amos, dropped glycerin down his cork face while the Radio musicians played their theme music and recited a piece about how old Massa Williams had been just like 2 father to him and how sorry he was to hear of that fine soil quietly old gentleman's death. Variety, a theatrical that “Check and Double might bring the children who been frustrated at such adult » Bad Man,” “Follow Thru.” “Heads Up,” “Maybe It's Lov “The Santa Fe Trail,” etc back to the theatres. I wouldn't: be trade paper, observed Che have movies as Recommended “Billy the KId"—Stunning 0% ictures, and two exciting episode “The Big Trail"—The nothing story, with good areful by an “Outward treat: f expert ; Worth “Old. Englsh"—George Arliss doing everything but his laundry in a Gals: worthy play Slow “The White Hell of Pitz Palu-S silent film, with = marvel scenery OVICS ie hurt if any children of mine clamored to sce Amos and Andy, but I would like to get them out of the theatre during the baby-talking of dimpled Charles Morton, and IT should sell them to a medical school if they got excited over the shrill didoes of Sue Carol. 1 imagine you will have seen “Cheek and Double Check” before this gets into print, but you probably will not have a chance to get one of the den programs issued at the Mayfair Theatre, and I offer you the f Amos and Andy as a benediction which, in part, says that “we were happy over the idea of mak- ing a talking picture, but our real pleasure ¢ when we met and learned to love the personnel of RKO Radio Pi organiza- tion.” Who says Big Business men haven't hearts? modest words entire ures’ iin Doorway to Herr’ fused lecture life. An immature young man, Lewis Ayres, is called upon to play the leading part in this re-write of tomorrow's head- lines and he is assisted by one of those horrible child actors who, as the little brother, has as much spontaneity as a is a con- on g vice president's: welcoming committee. “The Doorway to Hell” is billed as the picture gangland dared us to r about it does 4 ei CosteLLo UAse is as bud as an early British talkie. It is ab surdly amateurish and I cannot uv derstand how James Cruze could have done it. comicbooks.com