The Daily Worker Newspaper, May 9, 1934, Page 5

DAILY WORKER, NEW YORK, WEDNESDAY, MAY 9, 1984 ‘CHANGE -— THE — || WORLD! | —— By MICHAEL GOLD __ “All highly stressed components must be provided with a test-piece of appropriate size. This test-piece should remain integral with the component until all pro- cesses except balancing are completed. It should then be tested to destruction. ... ”"—Principles of Areo-Engine Design. . . . Here's a drop-forging: rough, still warm From its flare-metal birth, Resilient-rigid, essence of all that earth Has in it of strength, a mountain’s heart distilled To a metal bar. It shows the form Of the future crankshaft, as machined and drilled And cut to knife-edge scantlings, it’s trimmed so The balance finger moves to a breath’s echo. And after the gouging and the burnishing And after the arc’s heat and oil douching Here's a new crankshaft fit to climb the sky. Tempered, true, ready— But for one thing: Shear off this metal square for the final testing! Past the pressure and the flame Past the lathe’s steel teeth, One with the crankshaft, this our test-piece came To severance—and death? “Test to destruction’—yes, but this can prove Too hard for twisting, for the impact wheel: : Clean steel, DIMITROFF! 7. WwW. Out of the Mouths of Nazi A WRITER in the New Republic has recently made an interesting col- lection of extracts from the statements made by leading Nazis. They really need no comment. They are so incredible in the depths _of their superstitious ignorance and sadistic venom that any added comment would be an anti-climax. And yet it is always necessary to point out that the Nazis are not a subject of trony, merely, These perverts and madmen have captured & leading nation of Europe, and are on the verge of plunging the world into a new war. They must be taken seriously, for they are mad- men who have guns and power. What is more, they are pouring millions of dollars into America, and influencing our own capitalist leaders. They are making alliances with such dark forces as the Ku Klux Klan and big industrialists like Henry Ford and the Remington works, Sears-Roebuck, the Du Ponts, etc. It is dangerous to underestimate the Nazis in America. We can stop their poisonous career in this country if we recognize and expose them with clear eyes, kill the snake before he has done any damage. But here are the quotations, as John Gunther calls them, “Nazism, straight from its own megaphones”: “The Nazi party has been proved to have better relations with the Lord in the heavens than the Christian parties which disappeared,” This is said by no village idiot, but by Baldur Von Schirach, mem- ber of the Reichstag, and leader of the Hitler youth movement. “Hitler is lonely, So is God, Hitler is like God.” Thus speaks no less a person than Dr. Prank, head of the Naz Department of Justice. “The appearance of Christ in the world was the first great emer- gence of the Nordic nature in a world tormented by decay.” Dr. Jaeger has announced this, and he is former state commissioner for the church in Prussia, and a Nazi leader. Yes, many of the Nazis now claim that Christ was no Jew, but a blonde German, with a moustache and hips like Hitler. “The diet experts are forever arguing the question: Meat or no meat, and quite forget to ask: Have the meat-giving animals and their fodder been raised on German soil—on native soil that has been na- turally, not chemically fertilized? “Or is it a liberalistic idealism—i., has it been fattened in the short- est possible time by every sort of artiflicial means? Is the meat German meat or does it come from some other country? For these meats are not the same. The latter will make the individual sick and weaken the race” This is a sample extract from a typical magazine named National Health, published in Nuremberg. The answer, of course, is, Nazi meat is not like any other meat in the world. “The tracing of all diseases to bacteria, whose entrance into the body we can do nothing to prevent, is serious scientific error. Many chemical products are fiendish devices perfected by Marxist scientists and marketed by Jewish industrialists to weaken the blond race.” This is from the same “health” magazine, and is a widely held Nazi idea in Germany today. “Hitler's attack on the democratic spirit is merely the opening act of a development the end of which will be a Nazi Europe.” : Thus spake Dr. Goebbels, the stunted, rat-faced, club-footed hero of language who is Hitler's chief propagandist. A Nazi Europe! That is their aim. Once the bourgeois Germans followed the Kaiser, and paid in blood and hunger for his egotism. Will they let Hitler lead them into the same trap? It is doubtful; not while the German working class goes on building a gallows for the Hitler butchers. “Scientific education for women is to be reduced, in order to strengthen their services to the family, and for the purposes of physi- cal fortifaction....” ... Prussian press service of the Nasi party. . . . . Some Nazi Biology “IN NON-NORDICS the teeth, corresponding to the snout-like narrow- ness of the upper jaw, stand at a more oblique angle than in animals. “The grinding motion of chewing in Nordics allows mastication to take place with the mouth closed. “Men of other races are inclined to make the same smagking noises while eating as animals. “The Nordic mouth has further superiorities. Just as the color red has a stirring effect, the bright red mouth of Nordics attracts and pro- voke kisses and courtship. The Nordic mouth is kiss-capable. - “On the other hand, the non-Nordic’s broad, thick-lipped mouth, together with his wide-dilated nostrils displays sensual eagerness, a false and malicious sneering expression, and a sipping movement in- dicative of voluptuous self-indulgence. “The non-Nordic man occupies an intermediate position between the Nordics and the animals, next to the anthropoid ape. He is not a complete man... but a transition, an intermediary stage . . . sub- human....” This is from a learned and philosophical tome, “The New Bases of Racial Research,” by that eminent Nazi scientist, Professor Hermann Gauch. There are many other professors who talk like him in the Nazi asylum. ' } “A Jew is for me an object of physical disgust. I vomit when I see one.” “ This is Dr, Goebbels again speaking, Chief of Nazi Propaganda. Some day he will eat his vomit. “T know that it is a sacrifice for us not to have a new war. War is the most simple affirmation of life. Suppress war and it would be like trying to suppress the processes of nature.” ee same Dr. Goebbels, Chief of Propaganda and Hitler's right er, “Goethe was internationally minded and a stranger to his own people.” ... thinks the Nazi Dr. Esser, Bavarian Cabinet Minister. “Between our present misery and coming happiness stands a new war. To create an unshakable faith in the high ethical value and deeper meaning of war—is the purpose of the science of arms. . War... is a steel bath of renewal for the human race.... ” ‘The Nazi professor, Ewald Banse, in his book, “War Science.” * * ’ * ri E is so much more of this going on every day in Nazi Germany that is incredible. And yeb there are already dozens of subsidized papers in America printing the same type of race-hatred, war-propa- ganda and anti-working class poison. And there are over a hundred organized groups of Americans who believe this kind of thing, and are ready to commit murder to make America Nazi-ruled. No, it all isn’t a bad dream. but a reality, and if civilization and Science are to survive it must defend itself in America as in Germany against this new age of darkness, " Negro Actors in the Theatre Union Play, “Stevedore”’ By GEORGE SKLAR (Co-anthor of “Stevedore”) the Theatre Union started “Stevedore” it was warned repeat- edly by those “who knew” that it would have its hands full. The usual bromides about Negroes were were inferior actors; they couldn't learn their lines; they were slow in setting their stage business; they couldn’t do anything unless they were told; they were unreliable— and to depend on them to give a performance with only four weeks to rehearse in was absurd.” They cited examples: “Run Li'l Chillun” rehearsed for months; so did “Four Saints,” so did “Brain Sweat.” As a matter of fact most Negro Equity Association allows them to be done on a non-Equity basis. There are no union restrictions. Amateur actors are picked up and worked day and night for months, exploited as all Negro workers are exploited and paid in sandwiches and coffee. = From the first day of rehearsal when the script was read to the cast by the director, Michael Blank- fort, the Negroes threw themselves heart and soul into rehearsals, de- termined to make it a success. They could believe in this play. They could be “themselves,” as Rex In- gram, one of the actors, expressed it. They could project an idea and feeling which they themselves shared. For the first time in the history of the American stage the Negro could be the hero; the Negro could have his say. As another actor put it. “They could act at last in a play which dug deep in the real roots of the Negro problem.” Throughout the rehearsal period the Negro actors were co-operative, responsive and alert. They hardly ever left the stage. Even when not in the scene being rehearsed on stage, they would react with the other actors to the situation. When the actors on stage sang a spiritual from the play, those on the side- lines joined them. During the most strenuous nights when scenes had to be done over and over to set and time the detail of such an elaborate scene as the building of the barricade, they would revitalize every one on stage by bursting into spontaneous song during five min- ute rests. Catt, eee INLIKE their experience in Broad- way plays, they felt at} home with the Theatre Union, They could say and do what they pleased. If they felt dissatisfied with some- free to say so. And they did. One instance stands out. When the “Green Pastures” company returned from Toronto, it was decided to change one of the actors in the cast who wasn’t quite coming through for 8 better-known player in “Green Pastures.” As soon as the cast found out about it, a number of the leading actors went to the director and authors. They pointed turned from a four-year tour at a high salary, while the other actor needed both the money and the at- tention that such a part would give him, And they were convinzed that he would also give a better per- formance if given the chance. That actor has since been singled out for special mention by every critic. There is no Jim Crow in the Theatre Union. Negro actors share dressing rooms with white actors. Negroes sit everywhere in the au- diences. People who call up over the telephone and ask for seats apart from the Negroes are told bluntly that granting such a request R. S. is a likeable person. His close-cropped black beard and his easily detectable fondness for onions, presumably acquired in Ma- jorca, give him an informal, friend- ly air. It is not his fault that he is an expatriate art-for-art’s saker and it is not my fault that I met him at a moment when my animo- sity for the protagonists of sheer beauty was particularly active. Still, I looked on him when I met him, and somehow I still look on him as being wholly typical of his kind. After wandering for two hours through the meaningless maze of color and monochrome at the cur- rent show of the Society of Inde- pendent Artists the other day, I felt pretty bad. I went there originally for a good long look at the col- lectively conceived mural of the John Reed Club, whose entries in the Independent shows have become almost as much of a tradition as the shows themselves. I remained in hopes of discovering among the welter of nudes, portraits and land- scapes other pictures equal in any respect to the John Reed Club painting which is titled simply, “The Class Struggle.” Stopping for a last glance at the painting, I observed Mr. 8. study- ing it, too. I spoke to him because he looked as though he might be an artist. He was. One word led to another and he told me that he was very much pleased with the exhibition. I dis- covered later that part of his sat- isfaction was due, probably, to the fact that his own “dark studies” were hanging in a very favorable position. As a matter of fact, he lost no time in leading me to the corner where his three pictures were hanging. Pointing to one of them, Mr. 8. explained: “T was inspired one night by the way that house looked sitting on the hill... It made me think of Oscar Wilde's poem, you know, the one about the Harlot’s House. .. .” “I see,” I muttered with simulated sympathy. An engaging fancy, real- ly... It seems well handled... “Are you an artist, too?” Mr. S. casting of Negro actors for; mouthed again and again. “Negroes; shows do rehearse for months. The} thing that was happening, they felt | out that this actor had just re-| Editor of Daily Worker, Dear Comrade: Not so long ago, that staunch and clarion-tongued defender of the working class, Heywood Broun, was lolling in and around Miami, Fla., and writing complacent, luxuriant, convivial accounts of the race- tracks, the night clubs, the drinking places, the celebrities taking time off from their highly paid pander- ings and other like items—all this presumably, to substantiate his own contention that “a great many news paper men believe that labor news does not get its fair amount of space in American newspapers.” In his recent “attack” on Sender Garlin, Mr, Broun blossoms out as a defender of the “humor” in the capitalistic press accounts of the May Day parade. This “humor” con- sisted in every effort to describe the grimly disciplined, gigantic, militant celebration as an airy, negligible |circus, a riot of trivial fun and frothy agitation, in which children sulked, pink ice cream overflooded, chocolate bars and lollipops were waved as banners of rebellion, and newspaper men, newsreel photogra- phers “pranced slong right at the head of the line, calling everybody ‘Comrade’.’ The last touch was undoubtedly the foullest. Newspaper men of the Broun variety, observing the thou- sands of serious-faced, proudly massed, bravely protesting workers, tried, desperately, to ridicule these \ cracking contempt for their united indignation, and to turn their hon- est, mutual form of greeting into a flippant parody accompanied by prancings, by fake hurrahs. The idea of “humor,” to which the Heywood Brouns and other All About Heywood Broun, Gnats, Flies, Tarantulas A Letter on May Day by Maxwell Bodenheim workers, to show a gay and wise-| capitalistic writers subscribe, is | one in which conscience becomes harder than vulcanized rubber, stale derision is plastered on ev- ery hidden squirming of fear, and cheap antios are manufactured in a brazen attempt to dispel the im- pressiveness of one hundred thou- sand workers linked in one, red- | bannered, mighty-voiced surge upon the sordid, squeezed-out highways of New York City, Mr. Broun hates “to find any revolutionary journalist trying to see how many gnats he can go per hour.” The insects in question, how- lever, were entirely the invention | and property of the capitalist press, and Comrade Garlin merely pointed out that this time, unable to avoid | or erase the massive, unprecedented Proportion and intensity of the re- cent May Day demonstration in New York, these hirelings were re- duced to blowing spitballs with va- ; lant chuckles, advancing irrelevant details as representative facts, claiming that one of the mothers of the Scottsboro boys fell asleep on the platform, and indulging in other minute, flagrant, cringing belittlings which constitute “humor” to dulled and conscienceless hearts and minds. Comrade Sender Garlin has often attacked the more sweep- ing and deeply vicious distortions and falsehoods of the capitalistic press, but on such occasions, Hey- wood has chosen to remain dis- | oreetly silent, biding his time until he could come forth, with a cheesecloth net, to assail Garlin on the “gnat issue.” The insects are not so limited, however. They have been known to include flies, cockroaches, tarantu- las, and bourgeois columnists! MAWELL BODENHEIM, Jos. Freeman Writes on Tampa Struggles in “Daily” Tomorrow H The story of illegal revolution- ary activities in Tampa, Florida, is described in three articles by Joseph Freeman, the first of which will appear on this page tomorrow. Freeman, a leading Communist journalist and critic, tells of the struggles of the tobacco workers for a fighting union and of the police terror against them in Ybor City, the Spanish section of Tampa. Vivid sketches of working-class leaders in Tampa and colorful descriptions of working-class life in this Southern city will be found in Freemans articles. Be sure to get tomorrow's issue of the Daily Worker for this imporant feature! is contrary to Theatre Union policy. Just as the Theatre Union went out and organized its white worker audiences, so it is now concentrat- ing on Negro organizations and Ne- gro clubs to bring them into the Theatre from which, as a rule, they have been barred either by Jim {In addition, several hundred tick- ets are each week contributed to the unemployed of New York, the bulk of them this time going to Harlem groups. To help share the cost of this policy, audiences are asked to contribute toward a fund for unemployed tickets. “No,” I replied modestly. “My in- terest in art is that of a layman.” “Well, you do something?” Mr. 8. persisted. “Are you a writer?” “Yes,” I answered, with even greater modesty. “For whom do you write?” For a moment I was tempted to counter with the question “for whom do you paint?” but that wasn’t nec- essary. I could tell at a glance that Mr. S. paints largely for the satis- faction of his own soul and for whoever is willing to buy his pic- tures. Therefore, I answered with some dignity: “T write for the Daily Worker oc- casionally. I was asked to do a piece on the exhibition “The Daily Worker?” the artist exclaimed, with a note of amazed interrogation. “What is that?” “That,” I replied, “is the official organ of the Communist Party of America. Haven't you ever heard of it?” “You see,” Mr. 8. explained, and I could hardly detect any note of apology in his tone, “I live in Ma- fjorca. I only run over here once every two or three years for a shors visit. Why should the official organ of the Communist Party be inter- ested in the show?” “Because,” I expatiated, “the Communist Party tries to help give expression and leadership not only in economic and political struggles, but also in the fight to solve the cultural problems which have been created by the collapse of our cur- rent economic sysetm.” Here Mr. S, gave me a look which could indicate only that he hadn't been aware that there was an eco- nomic system anywhere. In Ma- jorca, you see, it costs him only seven dollars a month to remt a large stone country house with beau- tiful ancient wrought iron gates. He showed me photographs of it. His vegetable garden, where he can further sweeten life with moderate quantities of the sweat of his brow, also helps to make him even more completely self-sufficient. “Then, too,” I continued. “the rev- olutionary movement, led by the Communist Party, endeavors to Crow regulations or hy high prices. | | Waldman to Speak on \“The War Set-Up in | Washington” on Sunday | NEW YORK.—Seymour Waldman, jof the Daily Worker Washington | Bureau, will speak on “The War Set-Up in Washington” at the John | Reed Club Forum, 430 Sixth Ave., jnext Sunday night, May 13. Waldman, who is the author of “Death for Profits,” a study of the | War Policies Commission, will dis- cuss the elaborate war preparations of the Roosevelt government as well as the war propaganda machine {which has already been set in j motiqn. Detroit Workers Camp ‘Opens Sunday, May 13 | — | DETROIT.-The Workers’ Camp lannounces its official opening on May 13. On that date the Com- munist Party, District 7, will have its annual spring pienie. A rich program is being prepared, includ- ing the John Reed Dramatic Group, the Freiheit Gesang Ferein, and other cultural groups. A prominent speaker will speak, and there will be out-of-door sports. The Camp is located on Twelve | Mile Road and Halsted Road in| Faxmington. It is not only a recre- ational park, but also an educa- tional center. Every Sunday and on holidays lectures are delivered | by outstanding leaders of the work- jing class. Admission to the Camp lis as low as 1 cents and transporta- Milwaukee Students Protest German Tour Of College Band MILWAUKEE.—Ninety students, intellectuals, workers, artists, doc- tors etc., gathered together at the Conservatory of Music Hall, Mil- waukee, to hear Stanley Burnshaw, editor of the New Masses, speak on “Culture and Fascism,” and to pro- jtest the acceptance by the State Teachers’ College Band of the in- vitation from the fascist govern- ment of Germany to tour and give concerts in that country for a period of 80 days. All individuals and cultural or- ganizations are urged to send tele- grams and letters of protest on the above action by the band to Presi- dent Frank Baker, Milwaukee State Teachers’ College, Milwaukee, Wise [TUNING IN 7:00 P. M.—WEAP—Baseball Resume ‘WOR—Sportss Resume—Ford Frick WIJZ-Amos Andy—Sketch WABC—Vera Van, Songs 1:15-WEAF—Gene and Glenn WOR—Varlety Musicale WJZ—When Exports Cease—H. B Scott, Pres. Denver Chemical Co. WABO-Juat Plain Bill—Sketch 7:30-WEAF—Shirley Howard, Songs; Trio WJZ—Yvette Rugal, Soprano WABC—Armbruster Orch. 7:45-WEAF—The Goldbergs—Sketch WOR—True Stories of the Bketch WJZ—Sketch, with Irene Rich WABC--Boake Carter, Commentator 8:00-WEAF—Jack Pearl, Comedian WOR—Dance Orch. WJZ—Too Hot to Handle—Sketch WABC—Rich Orch. A:15-WABO—Fasy Aces—Sketeh 8:30-WEAF—Wayne King Orch. WOR—To Be Announced WJZ—Maple City Four ‘WABS—-Everett Marshall, Baritone 8:45-WJZ—Baseball Comment—Babe Ruth 9:00-WEAF—Hayton Orch.; Fred Allen, Comedian WOR—Italics—H. Stokes Lott, Jr. WIZ—Ray Knight's Cuckoos Sketch Beat WABC—Nino Martini, Tenor; Kos- telanetz Orch 9:30-WOR—Success—Harry Balkin ‘WJZ—Three-Cornered Moon—Play, with Clive Brook WABC—Lombardo Orch.; Burns and Allen, Comedy 9:45-WOR—Dramatized News 10:00-WEAF—Hillbilly Music WJZ—Loper Orch.; Male Trio; ton Berle, Comedian ‘WABC—Coronation—Sketch 10;15-WOR—Current Events—H. E. Read 10:30-WEAF—Newton D. Baker, Speaking at Meeting of American Judicature Society, Constitution Hall, Wash- ington, D. ©.; Clarence N. Good- win, Former Justcie Iilinois Appel- late Court, Presiding WOR—Robison Oreh. WJZ—Denny Orch.; Harry Richman, Bongs WABC—Albert Spalding, Violin; Con- rad Thibault, Baritone 11:00-WEAF—Ferdinando Orch WOR—Weather; Moonbeams Trio WJZ—Pickens Sisters, Gongs WABO—Nick Lucas, Songs Mil- Film Festival Sunday Arranged by Committee To Aid Marine Union NEW YORK. — The Provisional Committee for the Support of the Marine Workers Industrial Union will present a talking film festival consisting of the two noted feature films, “Red Head,” (Poil de Car- rotte) and “Killing to Live,” Am- kino’s biological masterpiece, on Sunday, May 13, at Webster Hall. The performance will be continu- ous from 2 p. m, to 11 p.m. The charge of admission in advance is 25c up until 7 p. m. and 40c there- after. The holders of the 40c tickets will be entitled to a free party and dance from 11 p.m. until 2 a. m. Subscribe to the Daily Worker. One month daily or six months of the Saturday edition for 75 cents. Send your subscription to the Daily Worker, 50 F. 13th St. | tion is convenient. Interlude in an Art Gallery By Philip Sterling make all cultural media active weapons in the class struggle. The class struggle, no doubt, exists even in Majorca,”* T added, rather hope- fully. “I see,” Mr. 8. murmured. There was an awkward pause. By this time I was itching, for some per- verse reason, to ask Mr. S. his opin- ion of the John Reed Club produc- tion. I took advantage of the break in the conversation. “yWhat do you think of that John Reed Club piece?” I asked. Mr. 8. took a good long look. Turning to me he sighed in commiseration. “And you have to write a story on that?” “T've had tougher assignments,” I boasted. “Do you want to praise it, or .. .?” “The Daily Worker doesn’t limit its writers in so mechanical a fash- ion,” I interrupted. “I want your honest opinion.” While I spoke, I thought: “This man is not only an artist, he is a critic as well. What a characteristic question from an art- ist who has been schooled in a cul- ture dependent on private patron- age.” I glanced at the lower right of “The Class Struggle’ where a green-faced cadaverous Rockefeller presides over the wreckage of Ri- vera’s murals while a pudgy La- Guardia gleefully holds aloft a painting of a beefy nude. EANWHILE Mr. 8. was studying the painting diligently. “It’s hard to talk about these things, off- *Mr. S. did not contest this assertion. But our conversation would seem to indicate that he is unaware of any class struggle in Majorea, even though he told me that the extensive citrus groves which are the chief in- dustry of the island are in the hands largely of big-scale land- owners. Since the crisis exports have fallen to practicaily no- thing, When I asked him “how do people live then” having in mind the propertyless peasantry of the island, Mr. S. replied with refreshing naivete, “Oh, they all haye plenty of money laid by.” New York City. hand. I'd have to think about it a good deal.” “The composition is pretty good, isn’t it?” I volunteered. Mr. S, ig- nored the remark. Suddenly he said: “Whoever did that has no feeling for color. He doesn’t know how to use oil paint. It’s not a simple mat- ter, you know, using oils. It takes years and years to learn, This man,” he said, indicating the mural, “has slapped his paint on in @ hurry, without regard for any artistic con- sideration. Oils must be used in a certain way, you know. This man hasn't done it.” “This is in tempera,” I said softly. Mr. S. seemed unmoved by my cor- rection. “It doesn’t matter,” he ex- claimed petulantly. “This man does not understand in the slightest about color values.” “All right then, what do you think of the composition?” “The picture tries to say too much,” Mr. S. declared. “He should have made a series of paintings out of that. Just look at the way that space is all cluttered up with life- size heads, and buildings, and po- licemen and the rest of it...” I decided that we'd better let the matter rest right there. True, at first, glance “The Class Struggle” is a confusing mass of figures and ob- jects but each part of the. picture stands in almost perfect dialectic re- lationship to the other parts and to the whole. It is an almost mathe- matically exact picturization of the concrete forces which make up the class struggle. The picture is clear, logical, forceful and sober. It would take too long to describe it in de- tail here. At any rate, I knew that at this point it was time to conclude my in- formal interview with Mr. S. I per- ceived that it could not continue on the same friendly basis of informal acquaintanceship on which it started. I said good-bye. Mr. S. of- fered me his hand and shook mine warmly. “So long,” I murmured. *"T've got to get back to the office to write my story,” I replied, strid- ing toward the elevator. (“Glory” For All the 1 NO GREATER GLORY. Produced by Columbia Pictures, Based on the story by Ferenc Molnar. Reviewed by } SAMUEL BRODY | WHAT is the thesis of “No Greater | Glory,” a film for which the j kept “reviewers’’ of the kept press ihave fallen head over he | Kate Cameron, of the New | Daily News, states bluntly: “No Greater Glory’ is an ar ogy of war. Frank Bor made for Columbia a high York timental and touching from Ferene Molnar’s novel, ‘The | Paul Street Boys.’ He demon- strates in this picturization of the battles between two groups of boys over a lumber yard that makes | an ideal playground, that the | impulse to fight, even unto death, over the homeland is a powerful instinct in the male of the species.” (My emphasis.—S. B.) In “No Greater Glory” this al- leged “instinct” is extolled and shown to be as much a part of “man’s nature” as the yolk is of the egg or the marrow is of the bone It is an instinct which often leads to death—than which there is “no greater glory.” To submit this thesis to its ultimate test, children rather than adults have been used, the logic being that if the will to fight, | to be a soldier, to die for the home- land, ete., is present in the young. then how much more so is it present and ineradicable in the hearts and souls of men! If “No Greater Glory’ is simply “an analogy of war,” intended to demonstrate that man is born com~- bative, then it might not be amiss to inquire as to why the “bad boys,” the attackers and rowdies in the film are the “Red Shirts,” while the little boys from Paul Street are pic- tured as the innocent defenders of their lot, who fight only because they are attacked. Are these same “Red Shirts” directly responsible for the death of Nemecsek, the little ‘Women and the Kiddies In other words, isn't it rather ob- vious that 2 badly smelling rat has been rather awkwardly hidden under the profound idea that “children will fight?” Dea is glorious. see; death met in the “big bad Red this film b ped of its alleg osophy. as A through police therefore uuccess WERE a film can be that asked how effective pipers workers glorious (that even c it!) I would answer pends solely on how campaign cla that de- effective a im is as as we wish it to be, and f there is any glory worth ing for, it is that which a gains in defense of his class and its fatherland, the Soviet Union. for one, would like to see the Film and Foto Leagues and Young Pio- neers swing into action against “No Greater Glory”) And just this about the technical and artistic workmanship of the film: Frank Borzage, the director, has succeeded in infusing the film with an almost fantastically hyp- notic atmosphere determined mainly by his severely adult direction of the children, who behave as grimly as the real soldiers in Pabst's ““West- front.” for instance. The spectator begins after a while to accept these youngsters as adults engaged in war. The lighter dialogue introduced now and then to relieve the tension a bit is useless and superimposed Aside from this tour de force the worker martyred boy upon whom the film concentrates the whole weight of sympathy? film is as mediocre as the next thing from Hollywood —a badly | photographed bad play. New Classes Opened By New Dance Group NEW YORK—The New Dance Group, 22 W. 17th St., has opened two new classes which will meet on | Tuesday at 7 p.m. and Wednesday at 6 pm. The classes are limited to 20. | Stage and Screen Brilliant ProgramAnnounced for Moscow Theatre Festival Perhaps the most varied and am- bitious program of dramatic, oper- jatte and ballet events ever gathered |together in a single theatrical |schedule in modern times is prom- ised in the detailed announce ment of the plans for the Second Moscow Theatre Festival which has just reached this country. | Wednesday | Fleven first rank repertory com- UNITY THEATRE, 24-28 East 2srq st, |Danies will collaborate during the presents African Festival--Horton's Bhot. ten day period, Sept. 1 to 10, in oga Oloba, 9 p.m. Adm. 35¢. presenting a series of performances e.. BLOOM speaks on “Workers Self Of classic and modern comedy and jefense” at open meeting of Sacco-Van-| tragedy, of grand opera, ballet and ttl Br. LL.D., 792 E. v vd ih a Sot iroriee’ inetes, Tammont, Ave. £:*¢/ moving pictures, which will surpass DA, SOHRIETS AN speaks on “A \the first Festival, held last June. eview of jocal Cases,’ T Mi Bi 4 rt TLD. 23 % 13th St. 8 pm: Adm. fren, | iota lee Je got g DR. FISCHOFF Ke “Th | 4 Se Thentre ee the ee eS Hk Ace's | all of its artistic resources on this p.m. Dancing will follow. oceasion for the benefit of visitors from this and other countries. Last Thursday jyear the program was sustained by {GENERAL MOBILIZATION Steve Kato-|the Moscow Art Theatre, the vis Br. LL.D., Manhattan Ly: , 68 BE.) is die Esc@ Boks Bor Ant Nee Payne jx|Kamerny Theatre and the State Yorkville. |Opera and Ballet companies. This OPEN FORUM Pen & Hammer Club, 114|Year, in addition, the roster in- 2ist St., 8:30 p.m. John Brants speaks |cludes Meyerhold’s Theatre, the ‘Boy Scout Movement in U.S.A. | Vakhtangoff Theatre, the Jewish (Soviet | State Theatre, the Second Moscow |Art Theatre, the Stanislavsky Opera Studio and the time-honored |Small State Theatre, also the Chil- |dren’s Theatre and various cinema | performances, WHAT’S ON w. on Adm. 15¢. MECHANIOS OF THE BRAIN Film) illustrating discoveries of I. Paviow. West Side Br. F.S.U,, 2642 Broadway, at 100th St., 8:30 p.m. | Adm. 35c. FINAL MEETING all delegates 5-Day May Festival & Bazaar, N. Y. District ©. P., 50 E. 13th St., Room 205, 8 p.m. All delegates from unions, mass organiza- tions, T.W.O. and LL.D. branches are urgently requested to be present. The range of plays, operas, and ballets will also be wider thari last SOVIET CHINA — History of the Six /|,, ? 4 iv perf Anti-Beuiet Campaizns—Lecture by Conrad year's festival... Classe Sadie KomoroWski. Friends of the Chinese Peo-| ances include Borodin’s opera. ple, 168 W. 23rd St., Room 12. Adm. 1se.|“Prince Igor;” “The Flame of DANCE and ENTERTAINMENT given by | Paris,” Pre 7 the Social Youth Club, Sat., May 12th, via ‘i Peace pt toe Tar en 8 p.m., 108 W. 24th St. Admission free, | UWWOn; Shakes “Twelfth Check Room 25¢. Music by John Cusano | Night; Rossini’s “Barber of Seville” and his Harmony Kings. jand Duma’s “La Dame Aux Came- Gauat at feb MEN,” the Interna- | lias." Contemporary subjects will mn Ring—now on sale at | Ser the Workers Book Shop, 50 ®. 13th st.,|be Tepresented in Slevin's “Inter N.Y.O. vention;” “The Negro Boy and the | Ape,” by Sats and Rosanoff; Sho- Jom Aleichem’s “Two Hundred ‘Th: ty. ” * rT he forty: /"Thousand;” Trenieff's “‘Luyuboff Pittsburgh, Pa. TWO SOVIET PICTURES, First and “A Jewi at War, Carnegie Lecture Hall, Schenley Park, | Yarovana;” Vishnevsky’s “The Op- Oakland Priday, May ith. Adm. 38¢,|timistic Tragedy” and Gorky's for U. C. members 20c, Auspices: Unem-|«yogor Bulytcheff and His Friends.” ployment Councils. | Philadelphia, Pa. | Arrangements are being made for SYMPOSIUM — Republican, Democratic, | Visitors to the festival to substitute Socialist and Communist eandidates will | Other current performances in the ee progres for the “Crisis in Educa-| Moscow Theatre if they so desire. ion.”” Harry M. Wicks, Communist can- | These optional plays, as well as the didate for Senate, will speak, Friday. May | names of the leading players, who , 8 p.m. Lulu Temple, Broad & Spring | i will take part in the festival per- Garden Sts, auspices Unemployed Thea- tres’ Council. Admission 25¢. !formances, will be announced later. LAMUSEMENTS — Tue Dairy Worker Says: — “Soviet Musical Revue at Acmr, Fine Satire” BITING! MARIONETTES sexs SPECTACULAR! “A. Brilliant SEE the MUNITION BARONS pull! the strings of the Soviet Film."—Herald Tribune, CAPITALIST RULERS “MARIONETTE” Enacted by MOSCOW 4RT THEATRE | yp, PLAYERS and the MOSCOW & LEN- INGRAD BALLET ACME THE THEATRE GUILD presents— SAW A comedy by DAWN POWELL with ERNEST TRUEX—SPRING BYINGTON ETHEL BARRYMORE Theatre, 47th Street, W. of Broadway Eyvgs. 8:40. Mat. Thur, and Sat. 2:40 EUGENE O’NEILL's Comedy 3 | AH, WILDERNESS! | | jan Talking — Singing — Dancing Special Musical Eeore (English Titles) THE ACTOR EE 14th STREET and UNION SQUARE THE THEATRE UNION Presents — The Season's Outstanding Dramatic Hit sievedore CIVIC REFERTORY THEA. 195 W 14 St, | Eves. 8:45. Mats. Tues, & Gat. 2:45 30¢-40¢-G0e-T5e-81,00 & $1.50, No Tax GLADYS ADRIENNE RAYMOND. CoorrR ALLEN MASSEY with GEORGE M. CORAN GUILD amnyee sk eeeees THE SHINING HOUR s.Thur.&Sat.2.20 || BOOTH THEATRE, W. 45th St. Ergs. 8:40 Matinees: Thursday & Saturday 240 MAXWELL ANDERSON’S New Play “MARY OF SCOTLAND” MUSIC mm faves, wrmvaue sexes | —HIPPODROME OPERA ALVIN fesionatcthunes "The Daily Worker gives you full news about the struggle for un- employment insurance, Subscribe to the Daily Worker. Amato, Direct>r 0...Andrea Chenier SAMSON and DALILA .. MME, BUTTERFLY c-83e-99e ft | |-HIFPODROME, § Av.£48 St, VAn 5: ¥ Pasa Tonight, Thurs. Eve.