The Daily Worker Newspaper, October 23, 1933, Page 5

cage Five |FLASHES and| Stage and Screen | CLOSE-UPS DAILY WORKER, NEW YORK, MONDAY, OCTOBER 23, 1933 A Classic of Soviet Theatre: |The World of | THE NEW FILM | “The Wandering Jew” Opens “Her Master’s Voice” Opens ‘os an aban PRAR A uA ER INR CASE TAL So WH AT WORLD! By Michael Gold An Infamous Want Ad NE of the most revolting pieces of commercialism I have ever heard occurred in the city of New York a week or more ago. Several corre- spondents haye written to this column in protest. Tt was another of those million silent crimes against the unemployed that a¥é never réported in the capitalist press. They have acres of space for every filthy divorce sc:ndal among the idle rich or worthless holly- woodians, But, news of the starvation and humiliation of the great masses \s news, that evidently is NOT fit to print. ‘The crimé ‘this time was against the white-collar unemployed. On Thursday, Oct. 5, the following advertisement, so typical of our period, appeared in yariotis newspapers, including the New York Times and the World-Telelgram: GRADUATES of Harvard, Yale or Princeton to learn restaurant * puisiness starting as bus boys in famous Times Square restaurant; _ Weekly salary begins at $15; splendid opportunity. Box DMI27, uptown. Degrees for Bus Boys ‘correspondent who first sent in a copy of this shameful ad wrote undérheath: “And to be a waiter I suppose one would have to have at least a Ph.D” How many “ambitious proletarian parents have slaved that their sons and daughters-might go through college. Four years of high school, then four years of college. How many young proletarians have longed to go to college. How many have worked and slaved their way through, sleep- less, haggard and-hungry. And all for a chance to be a bus boy in a restaurant. Tels not ‘bedatige a bus boy’s job is shameful; but because a system that prides itself on being civilized and cultured has at last confessed that a_college-education is worth exactly $15 a week Th the open market! This was the ‘first reaction one had to this infamous ad. But there was worse to.céine. The tale is only half told. The following account of what happened was reported to this column by one who chooses to sign himself, “Phi Beta Kappa.” This stands for three Greek letters, by the way, forming the name of a college society to which only the leading scholars in each. graduating class are admitted. The title is the highest honor in scholarship a young college man can win. . . . ss s : . Phi Beta Kappa Looks for a Job ‘AgyY alma mater,” he writes, “doesn’t happen to be Yale, Harvard or “Princeton. I only hold two degrees from the more proletarian City College, -but I took 2 chance and answered the advertisement in writing. day later I was called for an interview at the Paramount Hotel, 46th St., New-York City. When I arrived there, I discovered approxi- mately: 600 men, all college graduates, their ages ranging from 22 to 35, I shquigt say,,."There was quite a mob scene being staged when I reached the-hotel. The-crewd was booing and yelling at several cameramen who were..snapping: the crowd. “Let's bust the cameras! It's a lousy pub- licity «stant !!2 manager,-I believe, of the hotel was alarmed by these cries, and ped forward to make a sob speech. He was deeply sorry for us, he affirmed. “He-teplored the presence of the cameramen and reporters. He had never*invited them to be present at the birth of his new grill, ch, -Ao.~ It Was: no publicity stunt; he had really intended to hire five bus Hoys, but since there were so many applicants, and he himself was a coksge man with a big heart, he would hire 20 men. Almost in tears with -pity and self-admiration, the noble manager then picked out the #o7¢ 20 collage graduates and ordered them to report for work on Oct; ‘\lhis should“have solved everything, but the remaining 580 bachelors of Wagrand sciéatves: were still sore. “ “Bust up those plates!’ they yelled at the -piiciozraphers. ‘Let's bust them and their plates! Publicity stunt’ But tha. cameramen. managed to steal off with the loot. Maybe the pictures will appear somewhere; if I see my face I am going to get satisfaction somehow forthe insult. yway, the reporters came to the rescue. One of them, from the I kelieve.took the platform and asked how many Ph. D.s there were in the crowd, Many hands went up hopefully, and the saps let themselves be intezvicwed bythe oily reporter, giving their names, universities, year of graduaticn, jobs'they had once had, etc., etc. £ saw one reporter (female) confefrimg with’ the hotel manager and going through the file of confi- dential ‘letiers he had received in answer to the ad. She had probably missed ‘the name of one of the philosophers. “Eut the incident never got into the daily press, after all. I guess the city editors or those higher-up realized it was too hot for times like these. It was*making a ‘joke of Nira, and all the Washington ballyhoo. You see, all this. was quite within the code—the capitalist code. There is no room anymore for the himdreds of thousands of trained men ground out by the educational machine. Culture is finished under -apitalism. A college graduate is as oppressed as a bus boy. This is the lesson, I, and many others;-tearned from this slight episode in a greater war. Believe it or not, the Phi Betta Kappa fog is lifting from my mind, and I am beginning to feel like a revolutionist.” * * . HE -white collar worker and intellectual is still looked upon with suspi- cion by many elements in the movement. They cannot realize that this enormous group of-teachers, scientists, engineers, doctors, clerks, and simi- Jar workers are now at bottom ebb, and quite ready to join hands with the working class against the common enemy, if the proper approach is made. / Many of-themshave been proletarianized. They can be found on every job-hunter line and bread-line. Many of them begin to sce that their sal- vation. lies only in mass.organization and mass action. It is an important bloc of allies, and ought not be expelled because of prejudice or misuhder- standing. = - “= Many of the3é.new allies are not made to feel at home in the move- ment; often they are treated like stepchildren, they say. I shall print ex- tracts from a few letters on this important theme tomorrow. It seems to me well worth discussion. helping the Daily Worker, Through Michael Gold Contributioris received to the credit of Michael Gold in his socialist ompetition with Dr, Luttinger to raise $1,000 in the Daily Worker $40,000 arives ‘ From a Jew Without Money . -$ 1.00 Charles M.. Gerity +. 100 A. Smith Sg OD A Friend (previously received but not listed) . 5.00 Previous total *....... Total to date 1 | | | | | | | | | future. and altogether it lacked freedom, | deficient production on this accosion. the Theatre By HAROLD EDGAR By E. STEPHEN KARNOT Workers Theatre Night ARMOURED TRAIN 14-69, a play in 8 scenes, by Vsevolod Ivanov. In- Last Sunday at the City College ternational Publishers, 25 cents, Auditorium, the newly formed Thea- . * bd tre Club of the Workers’ Laboratory Theatre presented a program of short scenes representing the activities of various organizations which are either part of the Workers Theatre Movement or sympathetic to it. It's a curious play, this Armoured Train 14-69, by Vsevolod Ivanov. It’s curious because, by all the accepted axioms of dramaturgy, it ought to be a bad play—but it isn’t a bad Al ; large audience attended. | Play. In fact, it's & good play—by jg| all the accepted axioms of the What was most striking at this 1 t ‘a script, its flimsy, event was the fact that among the specifically workers’ groups the least professional gave the best prepared and most spirited performances, For example, the collective recitation of the Bronx Workers Drama Group, a truly proletarian manifestation, with- out professionalism either in its com- position or its intention, was perhaps the most finished and best organized number on the program. This reci- tation in Yiddish, built around the slogan, “No work: no rent,” was done with a simple energy, clarity, direct- ness that made it representative within modest limits of sincere revo- lutionary sentiment, with hardly any hangovers of shabby theatricalism. The Theatre of Action (hitherto known as the Agit-Prop Theatre) gave excerpts from “World Fair,” bits of satirical buffoonery that, tech- nically speaking, seemed to derive frfom the Chauve-Souris, American vaudeville and “Of Thee I Sing.” As a method of getting over political watchwords in colorful, entertaining fashion, these take-offs on fascist bologna and its defense by Academic big-wigs are very useful. But any- thing in the vaudeville form demands thorough coordination as well as gusto to carry conviction. The lyrics in these pieces Sunday night sounded quite witty, but not all of them could be distinctly heard. The number suf- fered from insufficient preparation or/| faulty rehearsal methods; it lacked the precision and sureness of attack that are absolutely indispensable for complete effectiveness in this form. Here a professional touch—though not professional performers— is es- sential, and if the excerpts given failed in this respect the blame can- not be laid to the actors but to a technically uncertain use of them. Bob Lewis of the Group Theatre gave the “to be or not to be” solilo- quy from Hamlet in terms of a rev- olutionary agitator haranguing a crowd. This is quite an imaginative effort of theatrical interpretation and should be very suggestive to actors and directors in all branches of the Workers Theatre. Lewis based his attitudes and poses on drawings from the New Masses—some of them rep- resenting an agitator in moments of sincere passion, others representing him as caricaturing his class foes— and these poses are ~'ternatedw ith moments in which the speaker makes his own comments. The relation of the partst—he poses and the straight comments—are not altogether unified so that the number remains incom- plete as a nartistic whole, and makes the impression, for all its merit and excellent showmanship, of a studio exercise, . . . Lewis, at the request of the audience, added satiric im- personations of the dancers Mary Wigman and Shan-kar. They are entertaining tidbits in a more con- ventional manner. The New Dance Group gave two dances.“ The writer of this column heard some sharp criticisms from the comrades around him in the audi- ence. Of course, the “Workers Dance” was rather ordinary in design—re- sembling many romantic peasant dances seen at concert recitals—and the “Charity Dance” was not very exciting as a thing in itself, as well schematic, the joints of the dramatic mechanism painfully visible through the poorly clothed character studies. As a show, theatricclly speaking, it’s a “wow.” It’s a director's holiday. Here are uprisings, conspirators, civil war, heroic sacrifices—the play is jammed full of what could be rip- snortin’ melodrama. But it isn’t. It is a drama that rings true, simply and powerfully. The very gauntness of its form brings to the reader something of the atmosphere of those lean, tense days of the Civil War in Soviet Si- beria, when emotions were stretched tight over the hardboned framework of a single all-powerful idea—to wrest the land and factories from the death-grip of the “whites,” and to drive out the interventionist foreign forces. This is the theme and substance of the play, and it is this theme and substance that makes the play a Soviet classic, despite’ its formal shortcomings. In the course of eight short scenes, we go through a typical phase of the civil war period, recety- ing vivid snapshot impressions of a series of characters whose relation- ships symbolize the essence of the class forces in conflict during that bitter period succeeding the October Revolution. For instance, in the very first scene, we find the “White” officer, decision and utter hopelessness *>. the commander of Armoured Train 14-69, goes into the taiga to fight the Reds with a mock bravery born of cynicism, desperation and despair. The people around him follow true to form. There is the blockheaded loyalty of Obab, the Meutenant, and the uncomprehending panic of the doomed bourgeoisie—as Nizelasov, in a moment of cynical clarity bitterly exclaims, “The cheap little canary in the cheap little cage shall be the emblem of peace I shall struggle to defend.” At the opposite pole we have Ver- shinin, the peasant leader. Slow moving; illiterate, cautious, but deeply wise, possessed of boundless passion and # love for his soil. Ver- chinin is reluctant to join the rising of the workers to meet the invaders —until he learns that his village and farm and children have been destroyed by the interventionist armies. Then Vershinin, peasant and leader of peasants, rises in mighty wrath, the wrath which spells the final doom of the “Whites,” Nizelasov, the Armoured Train and all the other symbols of the counter- revolutionary forces. For the peasants under Vershinin waylay the Ar- moured Train (Sing Wu, a Chinese peasant, in a simple, unheroic ges- ture stretches himself across the tracks, stopping it with his life), capture it, and bring it to the aid of the factory workers who are be- seiging the fortress of the city. Their combined forces forecast success at the closing curtain, the play ending on a note of mingled joy and sorrow (sorrow for the death of the Com- Nizelasov, typical in his futility, in-| Ivanov’s‘Armored Train 14-69’ | munist leader, Peklevanov). | This, most obviously, is not a play | to be read, but to be played. Textu-| ally, the characters have little sub-| stance—they cannot stand alone, | Vershinin is meaningless without the juxtaposition of ‘Nizelasov (although they are not brought together until the death of the latter), Sing Wu is but an outline, and Peklevanov (the commissar) simply serves to bring Vershinin into sharper relief. There is not a single speech of which one} could say, “Here is fine literature.” The translation is adequate, although in our opinion, far from realizing the aim of the translator as ex- pressed in a prefatory note: “striving | throughout to arouse the same emo- | tion (as in the Russian) . . .” Not having read the original, we can only wonder if Ivanov’s Russian is as clumsy and stiff-jointed as Gib- son-Cowan’s English. The play, for production in America, would most certainly have to be rephrased. Despite the fact that it is not a play to be read, or perhaps because of it—it is most certainly a play to be performed. Here is good theatre | —here actor and director may build, on a scaffolding as true as steel, all the unwritten nuances that make the play the Soviet classic that it is. Students of Soviet Mterature may be interested to note that “Armoured | Train 14-69,” by the very nature of | the contradictions discussed, by it: typically schematic structure and non-psychological characterization represents a period in Soviet litera ture that has practically reached its | end. “The Armoured Train 14-69,” produced several years ago by the Moscow Art Theatre, is probably the | best specimen of that great flood of | “chronicle” plays of the Revolution| which came and went every year up to the last year of the first Five- Year Plan: “Mstislav the Brave,” “Komandarm 2,” “The First Cavalry Army,” “The Last Decisive’—of these and many others, “Armoured Train | 14-69” is among the best, and one of | the few that will endure the test ot | time. at the Cameo Theatre Samuel Untermeyer was scheduled | to speak at the world premiere but didn’t, because,’ as someone an-| nounced angrily, “too many people| walked out of the theatre!” The fact is, half of the invited audience walked out during the showing of the film itself! There may be worse films made somewhere in this big world, but you'll have to show me! In a way, “The Wandering Jew,’ has everything in it. That is, every- thing that one trying to avoid being | bored to tears should keep away from. A little r ‘ion, a little Zion- ism, a heap of ham acting, a lot of confusion, plenty of absent continu- ity and a wandering, bewhiskered | old patriarch who steps into the| world of the living from a terribly} executed canvas by “Herr Professor | Levi” (Ben-Ami) and promises the persecuted Jews of Germany and | elsewhere that they have nothing to worry about inasmuch as Jehovah long ago promised them “Eternity! Eternity!” Whether you're a Gentile, a Jew, a Negro or anyone in search of two hours’ entertainment some evening | this week, I advise you not to “wan-| der” into the Cameo where you'll be | bored to death. —S. B. SIC | Vill Be “Faust” And “Tosca” The Chicago Opera Company, at the Hippodrome, will present nine operas this week. The schedule fol- lows: “Faust” tonight, with Garrotto, | Haeseler, Power and Guidi; “Tosca,” ‘Tuesday and Friday; “Mme. Butter- fly,” Wednesday and Saturday mati- nee; “La Boheme,” Thursday; “Car- men,” Saturday evening; “Die Walk. ure,” Sunday matinee, and “La Bo-| heme” on Sunday night. John Reed Clu Begins Its Thi NEW YORK. — When the John Reed Club School of Art starts its | third year today, the teaching staff will include a number of important additions. | Begun two years ago as a school | for the development of revolutionary artists, it then had only a few cour- ses in painting and, composition. However, the results obtained in these classes were of sufficient importance to attract the attention of many ar- tists of national prominence. Some of these wanted to help the pro- gress of the school by giving their service in teaching’ classes in their own fields. As a result, the John Reed Club School now has a com- plete program, with new classes in fresco painting, sculpture, lithogra- phy, poster, political cartooning, be- sides the courses.given last season. Special classes for Children will also be held at the school’s new studios at 430 Sixth Avenue. The fresco courses appear to be attracting most attention. In addi- tion to the evening classes under Al- fredo Crimi, who studied fresco and | Pompeian encaustic in Rome, there will also be week-end classes taught as being ideologically unclear, so that at the end the dancer representing the workers seems to be begging for charity instead of demanding her due. Nevertheless, there was a fresh- ness about the people in this group, an unspoiled and unarty sturdiness that are distinctly sympathetic, and one sensed too a desire to work, to | TUNING I learn, to become technically more - N | expert, that gives promise for the TONIGHT’S PROGRAMS What this group seems to lack at the moment are dance ideas WEAF—660 Ke 7:00 P.M.—Male jartet appropriate to their audience. The Theatre Collective gave the} se flop-house scene from Claire and Tsay Bachelors Beton Paul Sifton’s “1931—.” This was the any teal ak most ambitious part of the program.| 7° e rgs— Ski The scene is decidedly effective, but| §:s9—rioa cibemn: young Orel: it seemed badly prepared Sunday | 9:00—Gypsies Orch.; Prank Parker, Tenor night. It was far too deliberate in} 9:30—Ship of Joy, With Captain Hugh tempo, the religionist’s speech was, _. Barrett Dobbs much too obviously pointed—it had an almost recitation class quality— | 10:30—Jules Lande, Violin; Morton Bowe, or Ten: 11:00—Seotti Orch. 11:15—Jesters Trio 11:30—Whiteman Oreh. 12:90—Dance Orch. 19:30 A.M.—Meroff Orch ere flow and unity. This scene was better played at the first Theatre Collective performance last spring, and there- fore no one could think of calling the Collective severely to account for its bs WOR—710 Ke. 1:00 P.M.—Sports—Ford Frick ‘11:3—News—Gabriel Heatter 7:30—Terry and Ted—Sketch 1:45—Harry Hershfieid—Talk ‘00—Detectives Black and Blue—Sketch 5—Biliy Jones and Ernie Hare, Songs ‘30—-Morrog Musicale ‘Yet, we believe there is something to be learned here. It is simply this: that the more highly organized forms of theatre—long plays, ballets, etce.— to be interesting artistically and so valuable as propaganda, need the most careful, the most highly devel- oped, the most skilled preparation possible. The wholly untrained work- | 10:15—Ourrent Evento—Harlen Eugene Read ers from the Bronx did admirably | 10:30—Alfred Wallenstein's Sinfonietts; with their recitation, the Theatre of Edna Zahn, Soprano 11:00-——Weather ‘Report 11:02—Moonbeams Trio Ear wifes satel ns RR belie the material they employ. In the doing of full length plays such as the Theatre Collective announced, a strictly professional competence and a better than Broadway tech- nique must be insisted upon. Only in this way can such a theatre be of real service to the revolutionary movement. Action managed, despite handicaps, to put over their humorous turns, but the Theatre Collective, with better actors, could not do justice to their material since they had not rehearsed enough under the proper auspices, The Theatre Collective would do well to consider, in making their seasonal plans, that one production thorough- ly prepared is worth three hasty pro- ductions which satisfy no one and | 11:30—Robbins Orch. | 12:00—Helst Orch. WJIZ—760 Ke. 7:00 P.M.—Amos ‘n’ Andy 5—Baby Rose Marie —Potash and Perlmutter—Sketch 4$—To Be Announced 8:00—String Symphony, Black 8:20—Trio Romanitique 8:45—Red Davis—6keteh 9:00—Minstrel Show 9:00—Pasternack | Orch.; 5 ‘Tenor a | 10:00—Dance Orch; Mary McCoy, Soprano; Betty Barthel, Songs; Sports—Grant- land Rice 10:20—Henri Deering, Piano 10:45—Planned = Recovery — Secretary State Cordell Hull 11:00-—Leaders Trio 11:15—Poet Prince 11:30—Hahn Orch. 12:00—Bestor_Orch. 12:90 A.M.—Trinl “Orch toes. Direction Frank Oliver Smith, of WABC—3860 Ke 7:00 P.M.—Myrt and Marge T:15—Just Plain Bill—Sketeh Travelers. Bnsemble 1:43—News—Boake Carter 8:00—Green Orch.; Men About Town Trio; Vivian Ruth, Songs 8:16—News—Bdwin C. Hill 4:30;-Bing Crosby, Songs; Hayton Orch. 9:00--Agnes Moorehead, Comedienne; Shilkret Orch. 9:18—Pusion Campaign Talks—F. H. La Guardia, Major Gen. J. G. Harbord 9:20—Gertrude Niesen, Songs; Lulu Me- Connell, Comedienne; Jones Orch. 10:00—King Orch, 10:30—Now Is the Time to Buy—Charles Chaplin 10:45—Evan Evans, Baritone; Concert Oreh. 11:15—News Bulletin 11:20—Gray Orch, b Art School rd Year Today by Hideo Noda, who worked with Diego Rivera at Detroit and Rocke- feller Center. These fresco classes, which are for advanced students, will have the further supervision of Regi- nald Marsh. Because of the larger number of students this year, the painting clas- ses are run on a continuous plan similar to the fresco work. The painting instructors include Nicolai Cikovsky, 1932 winner of the Frank A. Logan prize at the Chicago Art Institute. His paintings are shown there as well as in St. Louis and Pennsylvania Museums. Other clas- ses in painting will be taugh by Raphael Soyer, whose work is rep- resented in the Whitney and Metro- politan Museums. Among the other new instructors are Arthur Lee, internationally known sculptor, Robert Minor, whose work as a revolutionary artist needs no introduction to readers of the Daily Worker, and Anton Refregier, whose cartoon pamphlet on the Moo- ney case has been an _ effective | weapon in this part of the class war. | To unite the diversified work of | the school, the students in all classes | will attend a series of nine illustrated | lectures on “A Marxian History of | Art.” These will be given by Louis Lozowick, artist and critic, and will be the first lectures on this import- | ant subject given in this country. Since the aim of the school is to produce revolutionary art as well as revolutionary artists, the classes are conducted as wérkshops to get re- sults, rather than as a school for the development of talent to be used elsewhere. Because of this method of teaching, the results last year showed strong work that expressed effectively the students’ ideas. The work this season, covering a wider field, should be even more successful Japanese Writer to Speak at Symposium for ‘Anvil’ Magazine NEW YORK —Sachio Oka, poet} and short story writer, will speak on | “Japanese Revolutionary Literature | and the Murder of Kobayashi” at the | Bronx Hungarian Workers’ Club, 642 Southern Bivd., near Prospect Ave., Wednesday evening, Oct. 25. The lecture will be held under the aus- pices of “The Anvil,” the new mafi- zine of revolutionary short stories. Oka, who studied at the Univer- sity of Tokio and was active in the Communist student movement, will give first-hand accounts of the Fas- cist terror against Japanese prole- tarian writers. His find, Koba~- yashi, author of “The Cannery Boat” and other novels, was reported fo have died of “heart failure” at Tokio police headquarters one hour after his arrest, in the early part of this year. Oka himself has con- tributed to numerous American maga- zines. Leonard Spier, associate editor of “The Anvil” and author of “When 12:00—Belasco Orch. 12:30 A.M.—Repp Orch, 1:00—Hopkins Orch. HELLO dank! GOs BuT You ARE ASTRANGER; TIN WILL BE GLAD To SEE RY You f HELLO cHer) TO UKETO bf f T TAINK You ouGHT TO KNOw Tim HAS POSER IN wire y f seanucrauowteataererecases smiisemmletrnts 3: i “Can’t Trust These Youngsters // YES, 1 Know — caer's way vn WERE - Can't TRUST SOME REDS: THESE YOUNGSTERS ” eee ITEM. you HANK , TIM woud. NOT BE AGERE TAKE ED OY ADUICE - WOO GES (N PRETTY | SERIOUS TROUBLE! TIN 1s A LECTURE IN FO TOSKE UIS Sow the Sirens Blow,” will act as chair- man. AR MARTIN | director, best known for_his To Epes W. Sargent, “Exploitation” Editor of Variety: I do hope you won’t mind my calling you a scoundrel and a cheap sort of liar for the item that ap- peared n your page last week, which stated that the leaflet put out jointly by the Workers Film and Photo League and the Anti- Imperialist League was just high-pressure publicity stunt con- cocted by your pal, Joe Lee, to line ‘em up at the box office of the Rialto Theatre at a buck ten. Or maybe you will mind, Epes, in which case all I can do is to advise you to stick to your line of advis- ing theatre owners on their lobby decorating problems and the me- chanics of “barking”; without ever attempting to liven up your stuff with slanderous allegations against working-class organi ons: PS: lease relay this note to that great advertising brain and provocateur, Joe Lee. Thank you. To Otto Soglow For years now we've all been laughing at your side-splitting sa- tirical drawings in the New Ma: and elsewhere, And I know you're liked a hell of a lot by everybody. But I saw the animated cartoon you made on the N.R.A. for R.K.O. and I swear I got no fun out of seeing a job like that done by you. On the contrary. Do you really think that the | Presented By Chicago Opera “New Deal” is lifting the masses | out of their hell of misery and hun- ger? I won’t say another word about this to anyone until we hear from you. Or did for this awful job? * * * Lewis Milestone, American bet Quiet on the Western Front,” is touring the Soviet Union and in a recent interview stressed the fact that Soviet films are above com- parison with American productions in points of “virility” and “alive- ness.” Apropos of the so-called “human angle,” which the Soviet movie is so often reproached for neglecting, he said: “I quite under- stand the Soviet attitude. There’s |so much in the way of edycation to be given the public here that there| isn’t time for trimmings. All our American producers are interested in developing is the box-office re- ceipts. Milestone is returning to Hollywood to direct “Red Square,” from Llya Ehrenbourg’s unpublished novel, “Life and Death of Nikolai Kurbov.” Laurence Stallings is pre- paring the scenario. Pabst, director of “Hiamerad- schaft,” is in New York ., , Chaplin's next film will be released in March ... . Hollywood complains of an un- dersupply (sic!) of second assistant directors ... . A second assistant di- rector is a guy who says “yes” when the supervisor says “yes” to the director who says “yes” to the first assistant who says “yes,” etc... . Talk about the struggle for imme- diate demands . . . Jean Harlow de- mands an immediate increase to $2,500 @ week instead of the $1,260 she now receives from MGM ... And she'll get it! . . . (“Browning will win,” as Eddie Newhouse would put it!) ... Take Sylvia Sidney, for in- stance .. . She said $4,000 per week instead of $2,000, and got it! ... (And, of course, Browning won,” as said E. N.) ... Gregory La Cava is back with RKO and here’s hoping he | gets a chance to look at his own fin- ished films . . her way imto $200,000 for her next appearance .. . cached near the South Pole by Byrd and his expedition, for use by future Antarctic expeditions . . . Hope to live to see the day when at least 99 per cent of the mess of Hollywood products is hidden away in some such place where anybody but innocent folks will ever have a chance to see them... M theatre grosses fall 7 per cent... The Harry Alan Po- tamkin Film School now has 40 stu- dents Irving Lerner requests moze workers’ comments on his reviews... Come on, give it to him! .. . Harpo Marx wants no pay from the Soviet Union for b appearances there... Wants to experiment to see the ef- Mae West will curve | 150 films will be| Tonight At The Plymouth; Woods Play Here Tuesday Yhis ww going to be a busy week on Broadway. No less than nine | productions— eight new plays and | one revival—are scheduled to have their premiere. Two producers who have been inactive for some time, | A. H. Woods and William Harris, Jr, | will be represented in this week's schedule, Here is the list: “Her Master's Voice,” Clare Kum- mer’s new comedy, will open on Fri- | day evening at the Plymouth Thea- | tre with Roland Young and. Laura Hope Crews in the leading roles. | Harry Delf’s comedy, “The Family Upstairs,” will be revived this even- ing at the Biltmore Theatre with Frank Conlan, Helen Carew, Flor- | ence Ross and Leonard Doyle in the | cast. | “Move On, Sister,” = comedy bs Daniel N. Rubin, will be presentec by A. H. Woods at the Playhouse on Tuesday night with Fay Bainte: as the star. Others in the cast in- clude Ernest Glendinning, Moffa Johnston, Frank Shannon and Harr} Davenport. “Spring In Autumn,” a comedy by Martinez Sierra, author of “The | Cradle Song,” is announced by Ar | thur J. Beckhard for Tuesday at the Henry Miller Theatre, Blanche Yurke is starred. Other players includ Richard Hale, Esther Dale, Hugt Rennie and Mildred Natwick, | “Three And One,” @ French come: dy by Denys Amiel, adapted by Lewi: Galantiere and John Houseman, wil | be presented by William Harris, Jr. | at the Longacre Theatre on Wednes | day night. The cast includes Lillia: | Bond, Brian Donlevy, Ruth Shepley | and Paul McGrath. George F. Hummel’s new play “The World Waits,” a melodrama o the Antarctic, will have its premier | at the Little Theatre on Wednes | day night. It’s all-male cast include | Blaine Cordner, Reed Brown Jr Donald Gallaher and Millard Mit chell, “The Dtvine Drudge,” dramatize by John Golden amd Vicki Baun from the novel by Miss Baum, wi! open on Thursday night at th MINOR FOR MAYOR WHATS ON BEM GOLD st open air rally, Hopkinsc and Pitkin Ave, Brooklyn. Auspice Brownsville Youth Genter, 106 Thatfor Aye., Brooklyn. i ee = “Meaning of Lnperialism,” B. 2th S., 8:16 p.m. Auspices, Anti-tn perialist League, Downtown Br. Speske BiM Dunne. MEMBERSHIP MEETING of J. Lov Engdah! Workers Ciub, 3002 Hull Avent | Lecture by A. Stauch sfter meeting « Mistory of Socialism | You need the revolutionary move- ment. The revolutionary move- ment needs the Daily Worker. The “Daily” needs funds to continue. Help the “Daily” with your im- Mediate contribution. fect of his pantomime on a foreig audience... . Al Rosen says he will produc “Hitler: Mad Dog cf Europe” despit the attempts of Fred Bertson, Hay representative, to stop him . . Bravo, Rosen! .. . Here’s hoping yo don’t weaken! ... The Film and Pho to League will be located at 116 Lex ington Ave. beginning next week. .. AMUSEMENTS The Daily Worker say “One of Last 3 Days the most remarkable films that has come out of Europe in many moons, . . , By all means see it.” “THE RED H A STORY OF ADOLESCENCE FAD” “POLL DE CAROTTE” (ENGLISH TITLES) Added Attraction: LATEST SOVIET NEWSREEL ACME THEATRE Uith STREET & UNION SQUARE |15¢% TRE THEATRE GUILD Presents EUGENE O'NEILL'S COMEDY | AH, WILDERNESS! with GEORGE M. COHAN bend GUILD THEATRE MOLIERE'S COMEDY WITH MUSIC West of Broadway. Evenings 8:90. ees Thursday and Saturday 2:20, | THE $€HHOOL ror HUSBANDS Adapted in rhyme by ARTHUR GUITERMAN and LAWRENCE LANGNER Music by EDMOND W. RICKETT EMPIRE THEATRE iiatinse: and 40th Street. ‘Thi Evenings $:30 irda 2:80 JOE COOK in -JOLD, YOUR HORSES A Musical Runaway in %4 Becenes Winter Garden "vw ssa Meu. ‘nursday Lescol ma EN MINUTE ALIBI A New Melodrama “Is herewith recommended in the highest terms.”—Bun. THEL BARRYMORE THRA., W. 47th Si ver. 8.40, Mats, Wed. Sat., 2.40. CHI. 4-839 JACOB BEN AMI in “The Wandering Jew” *™°CAMEO'S' | 26c iS. RADIO CITY MUSIC HALL- SHOW PLACE of the NATION Direction “Roxy” © Opens 11:30 AM. ‘AGGIE APPLEBY Maker of Men’ with Chas, Farrell and Wynne Gibson ® stot “Roxy” stage show m.—S80 to 6 (Ex. Sat, & Sun.) ——_ EKO _ Greater Show Season ——— bene Jefferson js» 5. * | Now ARLENE DIETRICH & BRIAN AHER? in “SONGS OF SONGS also “SOLITAIRE MAN” with HERBERT MARSHALL & MARY BODAD The Daily Worker fights Fascism Fight for the “Daily” with you dollars. Rush all funds to save th “Dalle” omg \ \