All too few radio stars have been unable to resist the appeal of movie contracts, and Kate Smith, biggest of them all, has proved no exception. In appearing in "The Big Broadcast" and now in "Hello Everybody," she has proved the superiority of the other ever the celluloid as a medium of communication between a two hundred pound woman and the great American public.

When we catch our first glimpse of Kate, she is carrying on the battle of save her farm from a power company that is planning to dam a nearby river and flood her property. To earn money to fight them in court, she takes to radio and night-club singing, but never forgets her knitting and the folks back home. Faculty she arrives in time to pay the $50,000, and save the old homestead, and, in fact, the whole valley. Farmyard scenes, in which Kate Smith seems as much at home as any other side-show freak would be, show her figure in a most favorable light, and even give her a chance to sing a bit to the horses and cows.

But scenes of her success in New York, shows in the latter part of the picture, provide more opportunities for the exercise of her crooning ability, and less for the exhibition of her bulk. One shot that should be preserved for posterity is the view of our behemoth hotcha mamma writhing in the contortions of a tap-dance.

The second picture, "Second Hand Wife," deals with a trite subject, but is raised from the depths of mediocrity by clever work on the part of the leading characters, Sally Eilers, Ralph Bellamy, and Helen Vinson. Karol Kay, as Patsy, provides more evidence to support the prevalent theory that all juvenile stars are unbearable, but she is kept in the background enough to conceal this fact from all but the most observing of the audience. E. G.

Mr. King Kong has deftly crossed the continent without the use of three league boots or a special train. He needs no publicity. The Gala Hollywood Premiere held at the R.K.O. Keith's at a late hour last night would have hurt his sensibility were he there, but, alas, he is dead.

The Hollywood Masterminds create a great character and then ruthlessly destroy him. From the most recent reports, it was conservatively estimated that more time was given to making this amorously inclined monster than has been used on Lon Chaney, Boris Karloff and Frederic March for face-lifting.