Then there was that distressing indiscretion entitled "When Tomorrow Comes," in which Charles Boyer and Irene Dunne were called upon to recapture the break of "Love succeeded in being silly. Every one felt most embarrassed for them. And there was "Winter Carnival," in which Walter Wanger paid his respect to his alma mater by putting a lot of actors to playing a phony story amid flurries of fake snow on a Hollywood set and trying to pass it off as a real winter carnival at Dartmouth. did their bits for its year's list of worsts. Dorothy Lamour, who just seems to have the toughest luck that way, found herself in another little honey, one "St. Louis Blues," about a singing lady fleeing from a sarong who was washed out of a Pullman berth by a flood and washed onto a Mississippi River showboat, where she found love. Sort of flotsam, as it were. 'And Bobby Breen, thei: singing whipper-snapper, turned up s à Louisiana plantation aristocrat picture called "Way Down which went about as far South as it is possible to go irr the way of maudlin tómmyrot about saving the po' ole slaves.
Then there were such bench-warming horrors as "$1,000 a Touchdown." in which Joe E. Brown and Martha Raye played {he opposite ends of a tunnel; "The Kid From Kokomo,'
a cheap prize-fighting farce 9 which dragged Pat O'Brien, Joan Blondell and several other corpetent players down with it; "Back Door to Heaven," an import from Astoria; and "The Girl and the Gambler," of which this department's Mr. Nugent remarked thatit was taken from "The Dove," but is now a dead duck.
And extending that observation to the lot of them, the prosecution rests.
Text read from the printed page and cleaned; old type leaves the occasional error.