The cheeriest possible note on which to end one year and start another was struck at the Paramount yesterday when "Louisiana Purchase" popped in with all the bounce and abandon of a reveler cutting loose on New Year's Eve. Put it down without question as the fanciest new film to hit town during a comparatively bleak holiday season, and, if the books weren't already closed, you might even find a place for it among the best comedies of last year. For this transformation by B. G. De Sylva of his own Broadway musical comedy is a lively and leaping revelation of the screen in its best light operatic vein—an archly good-humored satire with just enough music and dancing to keep the froth on it, filmed in exquisite color and played right up to the rim.

If it weren't so extravagant in its bounties, you might call it a Bob Hope comedy, for Mr. Hope has the fattest role in it, and cooks same with adequate gas. But also involved in the saga of political plundering in the late "Kingfish's" State are Victor Moore as a crusading Senator, Vera Zorina as a bit of trim man-bait, Irene Bordoni as a lady who wears the tag of Mme. most refinedly, and a bevy of more beautiful maidens than you could aim an atomizer at. And with such accomplished persons alongside him—not to mention a full-bodied plot—Mr. Hope is just one of the best things about an uncommonly genial film.

Perhaps you recall the story—or, rather, perhaps you don't—about the manner in which some grafters down New Orleans way endeavored to "frame" a Senator who aimed to investigate them, and of how the pretty girl they sicked upon him double-crossed them and caused a fearful row. Well, that is still the story, not quite as bluntly told as at first, but plentifully endowed with complications which trip along the edge of naughtiness. And it concludes with Mr. Hope, in perfect fettle, conducting a filibuster in the legislature—a filibuster for which he says he got special permission "from Jimmy Stewart"—and pulling every trick to prolong endurance from reading "Gone With the Wind" to reciting "The Face on the Barroom. Floor," with impious illustration.

Surprisingly—but also gratifyingly—the film has not been cluttered up with song and dance. Only three numbers from the original—"You're Lonely and I'm Lonely," "Louisiana Purchase" and, incidentally, "Tomorrow Is a Lovely Day"—have been worked in without too much pretension, and Zorina does but one fragile ballet. Rather the mood of musical frivolity is sustained with excellent background music, and the essential spectacle of operetta is stunningly provided by superb coloring—gorgeous costumes in pinks and grays, emerald green and scarlet red, manipulated against settings in elegant good taste.

Mr. Hope, as remarked, is himself, only better, all along the line, and Mr. Moore is the darling little unstuffed shirt he has been since Throttlebottom was elected. You will see nothing lovelicr, we assure you, than Zorina in Technicolor, and, to top it, she can play comedy with an airy and winning grace. As the three leading characters in the picture, they set a blinding pace. But the others keep up with them. "Louisiana Purchase" is a humdinger.