The Daily Worker Newspaper, December 4, 1926, Page 13

Ronald Colman who conquers the desert and does “The Winning of. Barbara Worth” at the Orpheum, ~ THE WINNING OF BARBARA WORTH. HE famous (?) story of Harold Bell Wright’s finally got into the mov- ies. Altho only “another western,” in justice this must be said “with reser- vations.” It has a few favorable ones to its credit. The picture is really above the level of the story from many angles. The photography is unusually fine. The treatment of the desert in all its moods is splendidly put over. If any of you have cussed the heat and sand of an Imperial Valley raneh on a job (and we wish this on no one) you will appreciate the “desert stuff” in its unusually accurate and realistic treat- ment. The author got his inspiration for the story from the marvelous feat of irrigating this desert into beautiful farm land and it was worthy of a big- ger mind. One vivid scene of the first opening of a dam on the Colorado river to water the desert was actually thrilling. There was the quality of the beginning of the famous march over the prairies in “The Covered Wagon.” Tha feat itself was so big one can’t escape the drama. Scenes of a raging flood were well done. The story is of course a piece of clap-trap. You have probably wasted your time on it. In reclaiming the desert, two of “god’s noblemen” seek favor of a fair damsel and she’ ends up loving one “like a brother” and the other like something very much more serious, Harold Bell Wright being a Minister and popular novelist both, A PEEK EACH WEEK AT MOTION PICTURES saw to it that “all’s well with the world” and the end of the picture. Farmers and Farm Problems Article 3. By WILLIAM BOUCK, bs” beta let us briefly sketch a program for the future of farm organiza- tions and their policy in this country. Ronald Colman plays the part of am}{ mean for virile, radical movements Eastern engineer who proves he has “guts.” - Another suitor. who, tho he loses out, seems to have been born with plenty, Vilma Banky, blonde and handsome, is easy on the eyes and easy on the acting. For lack of better entertainment, you may find the good atures of this film a fair return for the price of admission at the Orpheum, —wW. C. “gYNCOPATING SUE” HIS is a story of the laboratory of jazz, or as it is known far and wide “Tin Pan Alley.” Here life is one discordant note after another. As- piring and prespiring young musicians pour out their soul on sheets of paper Tuled off mathematically precise into staves. But the real job is to get your “stuff” accepted. The spiritual de- spair of an unemployed musician is portrayed by some very excellent act- ing of Tom Moore, who plays the part of Eddie Murphy. Corrine Griffith who is the “Sue” in the picture is one of those salesladies of latest popular music sheets who sings the “hits” to the accompaniment of her own banging on the piano. Her banging starts up a series of compli- cations which make up the body of the story. She looks her best and is worth looking at. Altogether we may say that altho there is nothing very deep to this picture it is very entertaining and you will surely enjoy it. If you have any spare time see it—by all means! —J. G. A DOZEN IN BRIEF The Temptress — Beautiful Greta Garbo does the tempting. (Roose- velt). Breaking Chains—A picture from Russia that will thrill you. After an enthusiastic showing last night in Chicago it is now starting on a country-wide tour. The Biack Pirate — Entertaining Douglas Fairbanks does his stuff. Eagle of the Sea—Ordinary hokum. Don Juan—Barrymore poses passion- ately. With the Vitaphone (Mc- Vickers). The Strong Man—You'll get a laugh out of it. The Better 'Ole—Syd Chaplin is Gen- eral Laughter in a comedy of the war. With the second Vitaphone performance featuring Jolson, Jas- sel, Janis, Howard Bros. and other stage celebraties (Woods) Variety—See this one from Germany. London—Why did they bother bring- ing this all the way from England? Subway Sadie—Thin stuff but amus- ing. Men of Steel—If Gary didn’t sub- sidize this, he should have, | Passaic Strike—A rare picture. -See it! THE TINY WORKER A Weekly. Editor, Sidney Nadolsky, Grand Rapids, Mich. Johnny Red, Assistant Editor. Vol. 1. Saturday, December 4, 1926 No. 28 THE POOR SAP A Good Story By Max Gladstone Brooklyn, N. ¥. . the wo The Strike SIDNEY NADOLSKY, Grand Rap- By hg re) rand Rap it wae a nice day in October The workers went on strike, While the boss sat In his office And thought with ali hie might. The boss sent out policemen, To club the workers’ heads But the workers held a solid line The the police swore at the “Reds.” The strike lasted three weeks At fast the boss gave In And rkere went work A group ef union men. It’s the first one for The TINY WORK- ER. Keep it up Max! DIDJA NOTICE? back to that will have a punch and real policy for fundamental relief, for permanent betterment of the countrymen, First, it must be educational, and that must be the first great object, to show farmers and country people gen- erally that they have been misth- formed all their lives as to the charter of so-called American freedom, that it: is freedom for the few to exploit the many. History must be cited and read, conditions must be compared, propaganda must be analyzed until they see clearly that the conditions here were the direct outgrowth of charter or constitutional provisions, planned with careful consideration, so that there might be no escape from universal exploitation of the masses, that words were juggled to confuse the unsophisticated farmer, until he looked upon wolves and mistook them for kindly friends and yielded himself humbly to the robber lords of indus- try, speculation and graft. He can and will be brought to see this clearly. Second. Then he must and can be shown what exploitation means for the producer, the ultimate butt or backstop of all profits, taxes, rents and interest. & He can and must be shown thru his own organization that these profits taken from him create a surplus, which goes into the hands of a few; that each year this surplus multiplies and its further augmented by interest com- pounded ugon the surplus of the year before. His organization must show him that this surplus, ever growing and compounding itself, is pyramided upon his shoulders ever more and more, until at last it will break and ruin any class or nation submitting to such in- fernal conditions, . He must*be made a student in a great school of economic learning, and this must be thru and in hig own or ganization, one officered and directed by his own class. i, Now as to this organizd¥ion. It must be first of all planned eo as to insure its permanent control from the people up, not by the officers down, as present and past organizations of American farmers and workers have been, and planned also to have a ter- rific punch and power when it be- comes necessary to use it. Then, in order to be this, it must be a disciplined movement, one that shall have implicit confidence and willing- ness to serve by its membership. This last must be the pivot of all its move- ments and plans. Now, it is clear to me that staying in old capitalist economic movements after a- certain period has been reached, after a certain amount of ed- ucation has been disseminated, is not only folly, but absolutely suicidal to progressive or radical movements. Many a great effort and hope has been scattered and lost and all its plans brought to naught by adherence to this idea of “stay with the old organiza- tion—bore from within,” Now, that’s a good idea for the trade unions which are working class’organ- izations. But the same does not ap- ply to capitalist political parties. But when you bore to a certain point what happens? To the writer’s mind the height of folly ig to stay in old capi- talist movements. It not ‘only does not build or organize anything worth while, but it is used as a text by the exploiters to prevent any fundamental growth, I believe, and believe with all my mind and feeling, that the only way to educate and build a radical move- ment is to get out—proc'aim what you are and in a straight-from-the- shoulder way build it up. Is the farmer in America open to a real “honest-to-God” fundamental movement? Can he grasp fundamental economic truths? Yes, just as easy, and more so, than most workers. But let me say he must be ap- proached right. The trouble with a lot of us is we have some precon- ceived notions, mostly bunk, of how these things must come about, and we fail, and so blame the ignorant farmer for our own fool notions and say it can’t be done. Here afe some matters that the American farmer can and will be brought to eee largely in the next few years: a. The fallacy of “deeded” land ten- ure, and how he can be protected in living and producing upon his farm. b. The fallacy and utter wrong in a “prefit” money system, used ag pri- vate property, and used as great in- terests wish to throttle industry and farming. c. The rufination of farmers, caused by private monopolies, and the ex- tinction of them in the general wel- fare of the people. 4. The private monopoly in land as exemplified in great values. of Jand in freat cities made by great numbers of people as a whole—and the im- mense wealth gathered by a few who are so fortunate as to have secured title in one way and another of these lands—and, acting as landlords, put a direct tax upon every unborn habe for rentals to the landlords. Shown these great princitples—and they are all more or less fundamental —it will not be far to go to the final step. And the writer is convinced thru his association with the farmers of Amer- ica that the education and training of large groups of farmers in these truths could be attained by support- ing such an organization as will. put . these forces into effect, We are now building such a move- ment in the “Progressive Farmers” movement, and we ask the support of ai] far-seeing and intelligent people in- terested in the emancipation of the ‘ erkers of the world, THE THEATER THE-GREENWICH VILLAGE FOLLIES The yearly production of the Greenwich Village Follies is made with a promise of more originality, beauty, humor and music than most musical shows lay claim to. But the promise is not kept. Surely not this year. Last year's production Was éven worse. This year a bit or two GRETA GARBO iF os who stare with Antonio Moreno and| what is called the “tired business man's et rrymore in “The ‘hociee at the Roosevelt. | of good comedy is included. Tom How- ard supplies some of it. The bulk of his effort, however, was born long before he was. At the very beginning of the performance he puts over a clever bur- lesque of a modern police station called “Efficiency” (in collecting graft). In Chi- cago this burlesque on police honesty as pictured strikes particularly close to home. Hivelyn Hoey ts pleasing in jazz num- bers. Bailey-and Barnum do interesting things with voice and guitar. A travesty on lost virginity and the stories of its losing called “Faded Flowers” is a clever bit of fun at the expense of old-fashioned virtue. As usual this year’s production includes many well-shaped ladies who are easy to look at. As usual also, they are oceasionally tho briefly displayed “in the- altogether,” The specialty chorus which fs sup- planting the ordinary chorus in most mu- sical shows fs also present in thts one. Shapely legs are making place for fast and clever stepping ones. ‘The Sixteen American Rockets” are not all Annette Kellermans in form but they give a lively and clever performance of chorus danc- ing. With the exception of a number called “Whistle Away Your Blués” the music won't send you home humming. All in all, this year’s Chicago showing ofsthe “Greenwich Village Follies” is just Temptress” | show”—and on the level of his tntelli- gence,