Evening Star Newspaper, July 4, 1926, Page 25

AMUSEMENTS. \\ oy BARBARAA, BEDFORD \ Ambassrador Wardman Park. News andCorpmentt ] By W.H. Landvorgt. NE by one the cherished traditions of life, like the stage articulate, are being shot into smither comes Ned Wayburn thority on the genus choru ecome after him, not even excepting who thority, and Wayburn says that not all the vamps and vixens whom | tory has made fam that’s going some for beauty can compa eens, whatever that may mean. Now is credited with being a greater au- s girl than all who have preceded or Flo Ziegiceld, although Flo is some au | | | peerless Helen of Troy included, and | with the average chorus girl of today This surely must mean the chorus girl they keep in New York and only | permit to leave on the rarest of oc casions. Some of the chorus girls very prominent revues that have driited into \Washington would have a | hard race to embellish grand opera in the dim and distant days. Wayburn says: “Had the high stan tion can be haived, it seems) as the day musical productions, Helen of others of their ilk would have been other means than that afforded by wiles.” He says a great deal like th real information by predicating his outburst with the sentence, ladies won, however, by their extren an attempt to revive the forgotten that chorus gir! Mr. Wayburn's commercial pursuits he says by publishing the photograp! sics of old alongside of modern g 1t and profligate millionaires mig Is of the winning ways of our present-day beau * * AU Wa ngton did not I the tion of “Les Miserables audience of notables and newspaper tional Press Club; but the fact that hibition later in the season secems t which was recently shown h men, under the auspices of the Na- But, nevertheless, a beauty contest with the famous old Italian chorus that used | dard of Broadway beauty prevailed in | the days gone by, and had the average fass been half so perfect (perfec Troy. Salome, Pompadour and many average chorus girl we sec in present- | compelied to seek scli-expression by their languorous figures and feminine at in addition, but he hands out some ne cleverness.” While this looks like heautiful but dumb” argument, it should not be present day arc important staples in Any way, Ned seems to prove what These | hs of some of the proud and haughty | Some promi- as to the yroducts of the camera ht offer material testimony but dumb ladies. * % privilege of secing the French produc- re to an invited the picture is promised in public ex- | o warrant a bit of comment on the picture in connection with our American photoplays of pretentious effort. In the never been surpassed perhaps t sonations outside. or rather inside for much criticism. One never has “acting.” Jave nstance, was spect. And next to M. Gabrio, wha {{ean Valjean, if not right be him, olane as the chid Cosette. this littie lady is casily the Jackie ¢ gre I need to recount that Victor Hugo, Hunchback of Notre Dame” any mo nence in position and size of type to to Victor Hugo. even though the la production_of “Les M ble a evidence of why Americ tures in their b m: t. From not begin to compare with the work own “Volga Boatman.” from the Ceci behind as an attraction, even after making fu ¢ of the Hugo story. s be a little blind and to its virtues be most due to the magnitu to its faul nch ema 1 ranc eds th L ducers serious enough infliction to cause th ¢t dustry, like perh * % ST The Pleasure week we Daddies™ to prove that had a bit of It is not a refle at only m the sense that its story is great, and the program did < author, was also the author of “The the throes of brain fag. ter of make-up and character dressing “Les Miserables” has he American stage. But the imper- their dress and make-up have come in any doubt that a given character is petua! motion in that re , most_impressively lived the part of came the charming little Mlle. Andree tion either way to say oogan of France that not re than it did to give greater promi- the name of Carl Laemmle than it did ter is no more. M. Henri Fescourt's all fairness, seems to furnish strong 1 motien pistures are crowding the French pic- the standpoint of screen art it does of Ernst Lubitsch in “Passion.” 1 B. De Mille studios, leaves it allowance for tedious length, vmpathetic America, however, . for the in n ps all other commercial circles uyers” and the week before “Sweet B e titling department of some of our big pro- Indeed, brain fag seems hardly a e condition evidenced by these titles. And if the titling departments of the studios are in this deplorable condi tion, why may it not be f; instance, those which select stories and those whi filmed—be in a similar condition the to assume that the other depanm;ms——fpr stories to be filmed, those which write h adapt stories already written, that they may be ood and Naughty,” that wasted some of the best talents the movie has to offer in about the worst story that has ever heen screened at large expense, seems to furnish proof that the financial departments of some studios also need watchful attention to pre- vent needless waste of money, even t hough there be no pity for the public that was beguiled into seeing the picture. With all the changes and shifts that are going on daily in the movie studios, it seems singular that this patent need of a ho rule in the studios, not those with quoted chunks of wisdom, but or punishes the public, never lack a impossible, or that star should be pictured in this type of picture, fine writers of licrature and fine pla lutely lack “screen technique.” Isn't produc the real reason for much of the pur for poor, and sometimes impossible, A jusecleaning has been overlooked. The m whose names are exploited in big letters and The 'monarchs that those who do the work that pleases dacity in explaining why this story is or why vers of the stage fall short or abso- it about time that some of the great rs started an investigation in their own households to discover e bunk that is handed out as excuse pictures? ki N adapter can spoil a periectly fine story; a director can send to his or her ruin the most brilliant star; a story editor, one who selects what shall be filmed. can toss into the waste the finest story ever writ- ten, and by the sam ‘ean easily “murder” the finest kind ¢ and fair supervisor be on hand to ¢ titles as “Sweet Daddies.” “Good and by unchecked? and Naughfy.” with such a magnific in the amount of money spent on them mitted to spend the money, or who need for reform in the movies. Wh Season by making that reform now, junk all stories known in advance to X % R. LEE SHUBERT is quoted in that the nude has come to stay And what excuse is there to affer for such drivel as e token a malicious star, for temperamental reasons, »f a picture, unless a fully competent heck the damage. Yet how do such Naughty” and “Pleasure Buyers" get Good ent cas Certainly, the fault is not Tsn't it with those who are per- cause it to be spent? Here is a real v not immortalize the Greater Movie and, furthermore, by casting into the belong there? * ok a cablegram from Paris to the effect ; that it is art, and that if it be right to preserve it in colors on canvas, or carved in marble or bronze, there is no good reason why it should not, with perfect propricty, be presented upon the stage. i : tion, are quoted as sharing Mr. Sh lenge smacks rather of audacity than Mr. William H. Brady and Mr. Al Woods, in this connec- ubert’s opinion. Mr. Shubert’s chal- n of serious argument. There is, even to the dumbest of our art connoisseurs, all the difference in the world be- tween the marble statue of the Greek slave and a fidgety fairy of the Follies. The statue at once impresses the beholder with the motionless beauty of art, while the undressed chorine impresses even more strongly with impudent suggestion, and it is daring spectacles of the revues are solely for the latter purpose that the designed. The simple intelligence of the common people easily discriminates between the two. The screen has been pounded, and pounded hard, for exploiting what is reported as Mr. Shubert’s theory. Tt has scen the evil of it and substantially reformed. Occasionally a_hangover writer or producer who finds it difficult to mend the error of his ways continues to inject the box office pull of suggestion in one form or another, but. on the reform is wise for the screen there i be insisted upon for the stage. no doubt of that. whole, the instances are rare. If the no earthly reason why it should not Spicy entertainment is popular. There is But also there is no reason why the spiciness should not be kept within decent bounds, art or no art. e * % NITA LOOS, the well known screen author, insists that it is “charac- ter.” not “mere beauty.” which t in a recent conversation upon the s he motion picture now is seeking. and ubject she said that this fact will be more apparent in_the new films to be shown during the coming months. Here. in a word, Miss Loos points the way from the mistakes of the past to a future for the scr as well to the stage. glory of lies not alone in its sensational app the mind and goul above all things. which, will not only be pleasant but profitable the drama, silent as well as spoken, eal to the eye, but to its impress on The production is | warnine.’ |ing demand lily Upstairs,’ THE SUNDAY 8 Lois MORAN Palace 3\, \\ CHARIES” T WMETT MACKS Rislto Ruea DIVELEY- National Coming to the National. $ QPORADIC ity.”” says Steve Cochran somewhat disjointed the schedule laid out for the ‘Theater Plavers' season. 'hese began with which. going to a two week run unexpectedly. necessitated the first chift in the order of the plays to be presented. Then came ‘The Bhow-Off’ for which some of the wiseacres predicted a ‘fall-down.’ but which developed enough virility to easily endure a two-week course and might have run a third. Even before this, it was seen that ‘Seventh Heaven' was due for an extra week and, although apparently sent to the storehouse, the production had to be hauled back to meet an ever-increas. outburats of popular- “have original National ‘he Last If nothing happens,” Mr. Cochran says. “all sorts of things can happen even to a s company we shail follow up the current week of ‘Seventh Heaven' with ‘The Fam Fair and Warmer.' ‘Puppy 'Love’ and ‘Lightnin’’ in the order named. About the middle of August—but pshaw, what's the good talking about the middle of August We could run the remainder of the year with just as good plays, if we had to.” Washington Girls in Movies ASHINGTON'S soclety circles will be without ‘‘debs” shortly if many more of the young debutantes and near debutantes decide that the footlights and the films outweigh the social attractions. Not long ago Betty Byrne, one of the best known of the soclal set, left her dances and tea tables and was given a small part in “Mismates” by First National. Last week two more followed in her steps and found their first motion picture work in “Paradise,” which g Rockett is producing in_ New York for First National with Milton Sills_in the stellar role. These two are Miss Gladys Chapman Smith and her sister, Miss Gwendolyn Ffoulker Smith, two of the most prominent girls in the select social circles. e just grew tired of society life,” is the way one of them is quoted, “and we decided that we would try motion pictures. So, here we are, tras,” 'tis true, but very happy, for we have cracked the ice and hope to continue to success.” Gladys made her debut last vear and Gwendolyn “came out” this year. Films in Community Work. A STUDENT group from the Anne Tillery Renshaw School of Speech, representing teachers and scholars from colleges throughout the country, were guests of Mrs. Harriet Hawley Locher, director of the pub- lic service and educational department of the Crandall theaters, Tuesday eve- ning in her studlo, in the Metropolitan Theater building. The evening was devoted to demonstration of the flelds of usefulness of Government films in school and community work. The students, who are in the Capi- tal for an intensive course of study, are maid to be interested in new uses of films as a means of advacing com- ity work in their own cities. S Mg, Goes to College! BEBE DANIELS left recently for college. With an array of gowns that will undoubtedly knock the campus of the University of California at Berkeley dead, Bebe got aboard the Lark with a large “campus” gang and speeded north to school. Bebe is leaving to play the starring role in “The Campus Flirt,” which is being directed by Clarence Badger for Paramount. and the picture is. being filmed for the most part at Berkeley. A large crew of college students ac- companied them and will act as ex- MARGARET ™.~ MoRRIs .Columbia TRARLE .Mefrqpol tars Current Attractions. At the Theaters This Week. NATIONAL-—“Seventh Heaven,” 'S—Helen MacKellar, vaudeville Cliff Edwards (“Ukelele Ike"), vaudeville noon NATIONAL PLAYERS—"Seventh Heaven.” “Seventh Heaven," Austin Strong's memorable drama of war-time Paris, 18 to be repeated at the National The- ater this week, beginning tomorrow night. This is probably one of the few times in repertoire history that a play has proved so popular as to be called back within two weeks of its first showing. The piece is being repeated in response to positive demand, the management announces, even though it would be a much easier task to proceed on the regularly announced schedule. = “‘S8eventh Heaven'" is an odyssey of love and a fate which Is relentless in its attacks on the happiness of Chico and Diane, children of misfortune, whose dream {s shattered by the booming of the guns at Liege in 1914, Its scenes are laid in Paris, the open- ing act in the outdoors of a section of the Paris slums, and the succeeding acts in Diane's garret, her ‘'seventh heaven” which endured for a brief few days until war’s specter bereaved her. Leeta Lane will do Diane; John ‘Warner, Chico, with Rhea Dively as the dope-crazed sister and Charles Hampden as Boul, the old taxi driver whose dilapidated cab, “Eloige,” al- most won the war. To date “Seventh Heaven" holds the receipts record for the National's Summer season. After its opening on Monday night two weeks ago, the plece played to house capacity through the following Saturday, and the turn- away crowd was of proportion enough to justify a second consecutive week had not every arrangement been com- Ppleted for presenting ““The Show-Of.' KEITH'S—Helen MacKellar. A fine hollday bil] is announced by B. F. Keith's Theater this week, be- ginning with today’s matinee at 3:15 Miss Helen MacKellar, known for her many stage successes, includ- ing “The Storm,” “Bought and Paid For” and “The Good Bad Woman," tops the bill in a condensed version of one of Broadway's recent hits, “The drama. Opens tomorrow evening Opens this afternoon Opens this after- | Mud Turtle,” written by Elliott Les- -, with Peggy Warner, Viola For- ie, Henry Pemberton and Buford ge of the original cast The Welsh prima donna, Sybil Vane, returns after two vears in Europe, in a specially arranged program. Shaw and Lee. late features of Ed Wynn's “Grab Bag' company, return with their particular brand of comedy, and a new and pretentious act, “The Rose mont Revelers,” will present a merry go-round of dance and song. written and staged hy Walter L. Rosement, with exceptional music, lyries, cos: tumes and scenery Others will be Harry asil Lynn in_a comedy “You've Dropped the Thread”: Jack Rvan and Hazel Webster in “Songs and Stories You Like"; Clemens Bell- ing in a novelty with “His Jolly Fam- {lv." humans and animals, and Harry La Vail and sister, with thrills and artistry, in an “Aerfal Perfection.” EARLE—CIiff Edwards (“Ukelele Tke'") “Ukelele Ike" (CHft Edwards) will headline the bill at the Earle Theater this week, beginning this afternoon. He has scored In the smartest cabarets in New York and London, and his style of “putting over” popular songs and ballads is distinctly original, as is his twanging of the Hawaiian na. tional instrument, Two added attractions will be Earl Hampton and company in a comedy sketch, “Meet Dad,” and “Dance Rev- els,” a pretentious revue, with a large cast of principals and revealing three exquisitely mounted scenes. Mr. Hampton in supported by Madge Mc- Garthy and Frank Townsend in a skit written by William Bateman. The Six Rockets, a sextet of Euro- pean sensationalists, will appear in versatile endeavor, introducing a half- dozen girls, with Ed Levan and Joe Doris, two funsters. “The Shamrock Handicap,” a screen melodrama of old Ireland and the American tracks, will be the photo- play. It features Willard Louis, Louis Payne, J. Farrell MacDonald and Leslie Fenton and a strong love in- terest fostered by Janet Gaynor. The usual house features will be added. Mayo and sketch, Helen MacKellar. HELEN MACKELLAR, whose sud- dery denouncement of the Wil- liam A. Brady production “The Good Bad Woman,” in which she played the lead, and the subsequent Broadway battle between censors and producers concerning current plays, is making her debut on the Keith-Albee vaude- ville circuit in a condensed version of “The Mud Turtle,” by Elliott Lester. Miss MacKellar's courageous stand and refusal to play a role which was as distasteful as she believed it to be {njurious to her reputation, determined her to play in clean productions or not at all, and recalling that Keith- Albee vaudeville championed the type of dramatic effort in which she wished to appear, she accepted an offer to play the circuit. This is her first attempt at the two- a-day., Miss MacKellar is an actress of un- usual ability. She came to New York from the Western Coast, a stock com- pany graduate. New York first sensed the fine caliber of this brilliant young actress in “The Storm.” Then she starred in “Back Pay,” by Fannie Hurst; in “The Masked Woman" and in “Bought and Paid For"” and several other Broadway hits. She is a dramatic actress of fire and depth. Even in “The Good Bad Woman,” in a role utterly distasteful to her, she was an outstanding success. Byrd Films-at Keith's. BECAUSE of the popular demand the motion picture record of Lieut. Comdr. Byrd's flight across the North Pole will be shown at Keith's at every performance this week. This production, a drama in its true meaning, reveals hitherto unexplored areas, portrays a new milestone of aeronautical progress, marks a new step in sclence and adds a new chap- ter in recording the exploits of daunt- less American explorers. It is said to confirm Peary's ob- servations, and the flight itself to clinch America’s ownership to the pinnacle of the globe. bl o A Dachsi Corbor, THE English actor,’ so commonly assoeiated in the public mind with high comedy and fine manners, fre- quently makes a superb delineator of rough-and-ready Western roles. An instance of this is shown by Bruce Gordon, a South African Englishman, who plays the role of a Western vi lain in Zane Grey's new Western ro- mance, “Born to the West.” Gordon was born in Johannesburg, South Africa, of English parents and educated there and in London. He began a stage career in England, but drifted to Hollywood. He was not at all particular about producers when he came to America. He got his Western film education In a long suc- cession of Western “serials.” lers | motton-picture TAR, WASHINGTON, D. C, JULY 4, 1926—PART 2. o musements: o ~— o JOBY NA AMUSEMENTS. RALSTON and JACK MULHALL /" ANNA Q. NILSS'ON Tivolt A WILLIAM BOYD -Central Make-up Not a Help. ILLIONS of used annu | be saved, savs Renaud Hoff man. producer-director. “The time will come, I believe, when little or no make-up will be used by plavers,” the director declared recently in an interview. Hoffman made the war epic “The Unknown Soldier.” which will be shown in Washington this week. None of the plavers in this dramatic pleture used a bit of make-up. “Make-up merely hides the real per sonalities of the players,” sald Mr. Hoffman, “It is like a mask becloud ing the features and the feelings and stifiing the honesty and realism_of |the individual performances. The greatest pictures are those in which the principals appear as their honest selves, Makeup Stints an actor's style; makes his performance appear stilted and forced. If a player is fitted for the role portraved on the screen, he will achieve his greatest effect without the aid of the paint box. I picked the characters for “The Un known Soldier’ on the strength of this theory. The results have con- vinced me that the greatest histrionic performances are achieved through character and personality rather than by the aid of rouge or paint.” doliars in M | Discovered by Barnum. ANECDOTES of P. T. Barnum, the |4} greatest showman of them all, | were heard recently during the filming of Gloria Swanson's picture, “Fine Manner The raconteur was Joseph Cramer who was 15 when Barnum d covered him and put him in his circus sideshow, billed as “Rubber Neck Joa, the Original Elastic Skinned Man." Joe, who is now 53 years old, did his contortions as usual for dime museum scenes in Miss Swanson's picture. Joe claims to be one of the five only original Barnum freaks' still living. The others, he says, are Zip, the What Is It? Charlie Tripp, the Armless Wonder; Rob Roy. the Albino, and Alphonso, the Ostrich. Continuity Writing Simple. “ ANY one can learn to write con- tinuity!” That is the statement made by Benjamin Glazer, one of the screen’s best known writers, who dur. ing the past eight months has adapted and scenarized many storles for the screen. Novices aspiring to write for pic- tures hecome discouraged, belleving continuity writing is too complicated. Flazer, under contract to Marshall Neflan, has only been a part of motion picture making for the past two years, but has found it a simple matter to adjust himself to the rudiments of screen writing. Of course, he had the advantage of a background that few can boast of, having been connected with the thea- ter and with playwriting in New York for many vears. Since joining Marshall Neilan, Glazer has adapted and scenarized “Wild Oats Lane” and also “Diplomacy,” the Victorienne Sardou drama, now in the making. He has been loaned by Neilan to Paramount, Fox and M. G. M. for five other screen plays, bringing his average up to one a month. “'A contlnuity appears complicated and_difficult (o an outsider,” says Glazer. “However, once an under- standing of them is reached, they be- come merely routine and are easily written. “The thing that calls for creative power, however, Is in making an adaptation, for it is a rare occasion when a _book or play can be handled in its identical original form on the screen. “The reason for this is the fact that the action of the screen is widely dif- ferent, and in changing the tempo it is necessary to rewrite some of the scenes, eliminate others and inject new ones,” Glazer concludes. | Marjorie Rambeau in | Movies. TELEGRAPHIC advices received in New York from Hollywood state that Marjorie Rambeau will make her screen debut supporting Corinne Grif- fith in her new First National produc- tion, “Ashes.” She will play the role of a famous Broadway actress who goes to the music counter in a Broadway depart- ;r{::m Gm&:iehm pBurchda!e music from ss Griffith, a Broadway song plug- r. “Ashes” will mark Miss “ u’s first eoreen appearance. make-up, | by screen performi- | Luncolit EDWARDS-Earle ~ i PALACE—"Padlocked.” and evening ning RIALTO—"The Unknown Sold:er. ning TIVOLI--“The Splendid Road.” evening Cl i ning. WARDMAN PARK LINCOLN (colored evening The Isle of PALACE—"Padlocked.” v Theater_this afternoon with Dwan's Paramount production Padlocked.” Rex Beach's maga zine romance of modern manners and | mora Lois Moran has the prir nine role. while grouped about her are Noah Beery, louise Dresser, Douglas Fairbanks, Helen Jerome Eddy, Allan Simpson, Florence Turner and Charlotte Bird “Padlocked” concerns high-spirited girl who, driven from home by the narrow bigotry of a wealthy father, plunges into the mad vortex of Broadway night life. with dark days of hardship and temptation as the result. Smart society opens i arms to her and a romance develops with a scion of wealth, but suddenly her father lashes out at her like an avenger, and money, reputation and admirers vanish Added attractions will inci Sennett comedy, “Havfoot. Straw- foot”: the Pathe newsreel, Topics of the Day, and an orchestral setting under Thomas J. Gannon ace a beautiful, RIALTO—"The Unknown Soldier.” “The Unknown Soldier.” st Charles Emmett Mack and Marguerite De La Motte, i3 the photo play at the Rialto this week, beginning today It is a story of love and war, thrills and laughs. Fred Willams. a mill worker. enlists and prepares to go tc the fighting line in France. He bids | farewell to his mother and to Mary | Phillips. the girl he loves, but refrains | from teiling her of his love, knowing |that her father. his former employer, is opposed to the suit Later in a French village the lovers meet again, Mary having come to France as a member of the entertain ment division. Unmindful of the fu ture, they are married. Then comes the order to march and disillusion- ment to the bride when she learns that her marriage, performed t imposter. is invalid The cast includes Henry B. Walthall, Fthel Wales, George Copper. Jess Devorska and Syd Crossley. An atmospheric prologue has been arranged by Mischa Guterson, featur- ing Charles A. MoDonald of Walter Reed Hospital, a_member of the A. E. F., who shortly after his return home lost his sight, and since he has been at the hospital. The Rialto Concert Ochestra will play “The Fortune Teller,” by Victor Herbert. COLUMBIA— Born to the West."” The new photoplay season of 192627 will be formally inaugurated at Loew's Columbia Theater this aft- ernoon with Zane Grey's “Born to the West.” It presents the work of a new Para- mount directoral figure in John Waters, and its cast includes Jack Holt, Margaret Morris, Raymond Hat- ton, Arlette Marchal, the French star, and George Seigmann. “Born to -the West” traces the romance of “Colorado” Dare Rudd and Nell Worstall from the time when Dare waged a bitter school boy con- flict with Bate Fillmore over the girl up to the time when, as men, Dare returns after vears of wandering to find his old enemy still up to his old tricks of attempting to force the girl to marry him The confilet en- gendered is said to produce some of the most tense and powerful action Zane Grey has ever brought to the screen, culminating in a runaway stage coach, from which the heroine is rescued just as the vehicle goes over a cliff. A Charlle Chase comedy. “Mum'’s the Word,” the International newsreel and Leon Brusilof's orchestra embel- lishment will be added attractions. METROPOLITAN—"The Sporting Lover.” Adventure takes the place of com- edy in the romance announced for this week, beginning this afternoon, at Crandall's Metropolitan Theater, where the feature will be First National's ““The Sporting Lover,” with Conway Tearle, supported by Barbara Bed- ford, Ward Crane and Arthur Ran- kin and others of note in the leading roles. Lloyd Hamilton in his two-reel laughmaker, “Nothing Matters,” will be shown also with the Metropolitan ‘World Survey, short reels and a mu- sical program under the direction of Daniel Breeskin. ““The Sporting Lover” is a camera version of the Drury Lane melodrama, 300d Luck,” and deals with the ex periences of a bankrupt Irish land owner and breeder of thoroughbreds, his housekeeper and her aged sweet- heart, who loans the finest of his horses to an Englishman of wealth, only to lose them outright in a fool- ish wager at cards. The action cul- minates in a spirited running of the English Derby, with the King and Queen actually in attendance. NTRAL—"The Volga Boatman ipal femi- | de the | rring | At the photop]ay Houses Shown this aiter: METROPOLITAN—The Sporting Lover COLUMBIA—"Born to the West." Shown th AMBASSADOR—"The Sporting Lover.” “Ranson’s Folly | i | | | | | The colorful roie of Ursus is pl | Charlie Murray, | less | “Cupid a PhotoplaysA rI:his \Nreel»(~ This Week. i evening this aiternoor aon hown Shown s asternoon and eve- Shown this afternoon and eve- < aiternoon and evening Shown this afternoon and Shown this afterncon and eve- etribu hown this evening. afternoon and i ————————] The production is an eiaborate ene, The new photoplay season of 1926.|directed by Alan Hale, and ts said to will be formally opened at Leew's |P® ich in the elements of suspense and surprise The concert overture by Metropolitan Symphony, wi; comprise the familiar airs Ma- cu will he the recurrent me of the accompaniment score and the will be George Olsen's “You Need Some One to Love, TIVOLI—"The Splendid Road." Anna Q. Nilsson. Robert Frazer and Lionel Barrymore have the leading roles in Frank Llovd's production for First National of “The Splendid Road,” a romance of the gold rush days in which the hazardous road fol lowed by the fortune seekers is guc. cessfully’ negotiated by a daring young woman, to be geen the first two days this week andall's Tivoli The ater. beg ternoon. Others in the cast inc Edwards Davis DeWitt Jennings. Russell Simpson Gladys Brockwell, Pauline Garon Marceline Day dward Earle The comedy will be Sennett's “Trim med in Gold.” and the bill will be com pleted by pipe organ contributions -~ Tuesdav and Wednesday. First Na. tional's release of the elaborate pro- duction of “Quo Vadis.” with Emil Jannings in the role of Nero and Lil lan Hall Davis as Lygia, and a sup- porting ensem of 20,000 players. ved by Bruto Castellani. An Aesop Fabls will be shown in addition. Thursda nd Friday, Relle Bennett, Lols Moran, James Kirkwood, Ben Lyon Marcia Har: Lowell Sherman and in First National's romance of the Riviera. “The Reck: Lady.” fr the novel b Sir Philip Gibbs, direcied by Howard Higein, together with O. Henry's la Carte”: day. Regl nald Denny in “Rolling Home,” aug-{ mented by comedy. Topics of the Dat and chapter play AMBASSADOR— The Sporting Lover.’ Conway Tearle and Barbara Bed- ford. supported by Ward Crane and Arthur Rankin. are the principal play- ers in First National's production of “The Sporting Lover.’ to be shown at Crandall's Ambassador Theater the first three days of this week, begin ning this afternoon. The story was adapted from the famous Drury Lane melodrama, “Good Luck, and contains thrilling scenes of the Fng- lish Derby. The bill will be augment- ;d by short reels and pipe organ num er Wednesday and Thursday. Frank Lloyd's production of “The Splendid Road,” with Anna Q. Nilsson, Lionel Barrymore, Robert Frazer, Gladys Brockwell, Pauline Garon. DeWitt Jennings, Marceline Day and Edward Earle, supplemented by Cff Bowes in “Hold 'Er, Sheriff'; Friday, Emory Johnston's production. “The Non-Stop Flight.” a thrilling drama of, the air, together with Ralph Graves in Mack Sennett's “Take Your Time,” a special reel, “In Old ginia,” and “Topics of the Day''; Saturday, Claire Windsor and Owen Moore in “Money Talks,’ a Metro-Goldwyn offering, supplement- Bobby Vernon _in- ““‘Broken a_ Grantland Rice ‘“‘Sport and “The Radio Detective,” Scotiand, 'TRAL—~"The Volga Boatman." 'he Volga Boatman.' Cecil B. De Mille’s famous production, will be shown at Crandall's Central Theater the first four days of this week, be- ginning today. In it is unfolded & love tale of a princess of the royal blood and a “human mule” of the Volga towpaths, piayed by William Boyd, with Elinor Fair as the prin- cess. Victor Varconi, Julla Faye. Theodore Kosloff, Robert Edeson and Arthur Rankin also are seen in im pressive characterizations. The pie- ture, a great film drama, will have ef- fective musical accompaniment and offstage singing by the Imperial Male Chorus. Thursday will be shown “The Rain maker,” Paramount's action-drama of the tracks, with William Collfer, ir. Ernest Torrence and Geos Hall Ralph Graves in Sennett's “The Win dow Dummy" and a Pathe Review. Friday. Jack Holt, Esther Ralston, Ernest Torrence and Louise Dresser in “The Blind Goddess,” with an Aesop fable. Saturday, Matt Moore and Dorotby Devore in “Three Weeks in Paris,” & rollicking farce of innocents hbroad with no wives to guide them, with a short comedy and “Hodge Podge" added. WARDMAN PARK — Retribution ““The Isle of Retribution,” version of Fdison Marshall's novel. will be the attraction at the Ward- man Park Theater this week, begin- ning this evening. __This picture brings to the fore Vie- (Continued on Eleventh Page.)