Evening Star Newspaper, August 30, 1926, Page 5

¥ KEITH'S—Mlle. Odali Careno. Mile. Odall Careno made her debut In vaudeville /yesterday as a head- lner in this week's bill at Keith's. 1ler initial effort in the two-a-day was n most pronounced triumph, and Keith's_vaudeville may be proud of the addition of so clever an artiste 10 its ranks. Mile. Careno has a most pleasing personality, sings without ef- of a voise st unlimited prima_ don- nas have drifted into vaudeville, but fow, if any, with the rare qualifications of this latest recruit. The aria from “Cavalleria Rusticana” was made- moiselle’s opening number and af- forded her opportunity to display her | wonderful soprano range. This was followed by Songs from the Spanish, >rench, ish and Russian. All her sel were pleasing and the brilllant wo could not help but | pleased with her reception. i A real vaudeville number, “The | Bells,” introducing that great cut-up, | “Herb" Williams, scored the laughing | triumph of the evening. The come- | dian uses some of his old stuff, but the greater part is new and the audi- ence was fairly screaming while he was on the stage. He carries a com- | pany of capable workers who help him put over laugh-provoking stunts. Joan grand ope | Halpin, Ruby and Bob Quiett be- ing the foils. The lights had to be lowered several times to allow the comedian to depart. Homer B. Mason and Marguerite Keeler have act entitled “Money, Money, Mone original satire filled with brie Mr. Mason is of fon and Miss p to him effectively. A | dozen curtain calls rewarded | these performers ulso, Bert Albert and Lalla Selb the bill with a ing act, the former jmpersonating a. of stunts; Di several up-to-date j man Re u_comedian open and tumbling cat A I»umhm‘wtll gi did dancing act Thornton has a was given of his rongs new; monologue end - reception, several coring i 1 the the program with a good ing act. Aesop’s Fables, of the Day and the Pathe News complete the bill. this week is the miniature ope ndian Love,” nted by nes », Allce Heller and a compx: The sensuous number, Dance,” he done | or ul toe dancing of one ..r the fen mn A play- ers, Loth in duet with 'rand alone, drew Others of the voices and a his s and of the " 2 peppy act of th very good | danecing singing, | hoth by the “The act i helped incan by the presence nd Kilpatrick. | amusing w md doc j nted Gertrude by good comied ing. Downe, riding and The Count tet of Lis deserve to be give a pre cotions that is r Murphy w Johnny monolog Mise : \‘|~~nl\ chell Lewis, zenda, gi ok aud ng zood support. 1t is the story of E lady, formerly rich, but now Who ' still retains her good | In the of guis and w them, of the novelist e hLis next 0ok, all ends well. The plot new and t fast, with 3 little romance woven into the 1 features complete the pro. teville now and then presents a performer ble ssed with the ability o come on without a hought « going to do when he nd then when he does he over a Kknock-out. Such is 11 at the h ot . who burlesques a brilliant array week be ns his turn corsation with which oved & Satlsfying )" those near enough (o h t. Then he wakes up the rem of the audience, with nonse: L burlesque on ballets and bon mots of tricky wise crack _ Following Rose comes ane of th Spanishy (1 that g'vo the nancer delicious tingly feelin i make him wish he could glide through a fandango. do the whirlwind zuacha and sipg beguilingly beneath 4 moonlit window. ~This morsel i labeled “Cafe Madrid.” and ves up to the suggestion of fashin Old World e dark and the rest o are supposed to happe of its d- his is a lovely e Le; serve a gabfest of ee | closing with a Rus: | Moscow and samov nd the King open by gly thro act, | Clara. Kimball Young proves she is | far from passe as an emotional actress | in “Lying Wives,” the flicker p which has scenes guaranteed to keep \erves quive! { Bn\(hr 7 PALACE—"Mare Nostrum. Rex Ingram's pieture yersion of he Iba Mare Nostrum,” wemed, frankly, & disangointment io many of the eager throng that had afted its local p > at Loew's valace Theater vesterday afternoon. Made in Europs and with doubtless “ue regard to continental technique, t yet seems to lack that absolute sin- cerity of pu cteristic of hat technique. s not the work of the Rex Ingram that gave us The Four Horsemen of the Apoca- “Mare 1 s a World War story of a sea captain who succumbed o the charms of & beauuful siren, a | nder the spell of Freya | Ulysses Ferragut sa vifices his knowledge of the Medite ranean in her cause, ther tingly cau: the death of hi: son. Maddened by this, he renounces Freya ind turns his ship over to the Frencl while Freva, who is really in love with him, is betrayed by her superiors ind led cut and shot by the French .mid the blare of trumpets. The un. ! happy captain then, in the spirit of | revenge, sends the submarine that killed his boy to the bottom just a | moment before his own ship follows | the same trail, but—our sea roars on forever and the Goddess Amphitrite mother and sweetheart of sailors relgns supreme. Possibly too much restraint in the acting end certainly a bit of mis | placed slapstick comedy are faults noticeablo in “Mare Nostrum.” The | actors and actresses respond like pup- pets to the pull of the strings. Per- haps Mr. Ingram relled more upon | what he believed to be necessary than | upon the histrionic art of his players. Hughie Mack, “the world's fat- actor,” dared to revolt against restriotion. _Alice Terry is the beauti. | ful but unfortunate heroine., Freva and Anteale Moreno the huckless cap- e AMUSEMENTS ~who | {p tain, while typical European players fill in the lesser roles. The length of the picture is an hour and forty-five minutes, and there are only an Aesop Fable and the Pathe News in addition. METROPOLITAN—"“Duchess of Buffalo” and “The Blue Boy.” Constance Talmadge brings mirth and gayety to Crandall's \‘[etropoman this week in her latest comedy, “The Duchess of Buffalo,” in wh she plays opposite a new leading man, | Tullio Carminati, who steps from obscurity into the inner -eircle in- habited only by stars, and by virtue | of his finished performance, he demon- strates his abi to hold his own with those who have “arrived.” As “Connie” spreads gayety in her wake, Jane Thomas a Phillipe de Lacy in “The Blue Boy,” a romantic em supplementing ~ the feature film, brings exquisite romance to add a note of enchantment to the Crandall bl)l which marks it as ex- ceptional. § ining the high stand- ards of “The * the Educational Film romance which preceded “The Blue Boy,” a charming little story of the incident which inspired the fa- mous Gainsborough painting of the same title, set out in natural col- ors that make the rich costumes and | settings seem parts of a fairy tale in their loveliness. More and more close observers are becoming con- vinckd that something very fine is being presented unostentatiously in these unique color classics, whose romantic appeal makes one wish they could be developed into full-length features. In the “Duchess of Buffalo” the sharming little comedy star appears as an accomplished American dancer in | Russia, whose veil dance makes such a hit with the male population, in- cluding the grand duke, that it all but | wrecks her romance with the hand- some dragoon who loves her more off { the stage than on. A ludicrous mix-up Marion, the dancer being mistaken for* the grand duchess, and when ‘he grand duke arrives things become a bit hot for *“Connie,” who, however, proves herself equal to the situation, | contriving to extricate herself and her lover from the melee without injuring any one’'s feelings r reputation. Ruth Granville, an up-to-date per- former on the saxophone, displays talent which ranks her h the great soloists on the ments know to the American school of popular music. Pathe News and song hits from “The Song of Flame,” performed by the Metropolitan Symphony, complete the program. Daniel Breeskin, conductor of the symphony, has arranged an exceptionally attractive concert num- ber in his selections from this pop- ular operatic production. RIALTO—"Hell-Bent fer Hi At the Rialto this week, Blackton's screen er Hughes' Pu Bent fer Heaven,” It is essentially though a thrilling s working basis on which nd shades of several cf el e e o ¢ of the South rolina results in | | mountatns preparing for the home- coming of their only son, from the war. There is the mother, old before her time from hard toil, anxious and ‘excited, running hither and thither for the last-minute preparations; there is the old grandfather, who in the boy’s homecoming relives his own experience of Civil War times, and there is the father, big, burly and proud, who drives in With the boy from the far-off station. Others come in to greet him—Andy, Sid's best friend, whose sister Jude is Sid’s sweetheart, and Rufe, the hired man—and as they gather round the ‘kitchen table grandpa suggests that Sid tell them “how he won the war.” Sid’s account of how he won the war is one of the delightful come- dy bits of the picture. But, in spite of this happy homecoming, an evil genius hovers around, in Rufe, the | hiréd man, who has “gotten religion” at a recent camp meeting, and re- sents $1d’s coming and all the fuss made over him, especially as he him- self has fallen in love with Jude. And s0, in his fanatical half-crazy way, he plans vengeance. While Jude and Sid are out at their old trysting place Rufe gets Andy off, playing on his weakness for drink, and revives an old_half-forgotten feud story between Sid’s and Andy's families. Then fol- lows an anxious time for all, the climax coming when Rufe explodes the dam, letting loose torrents of rushing water, which destrovs every- thing in its wake, and in which he himself finally perishes. Patsy Ruth Miller and Johnny Harron are seen as Jude and Sid, each a splendid foil for the other, and Gayne Whitman gives a fine per- formance as Andy, but to Gardner James go the real acting honors. He makes Rufe, the religious fanatic, a striking figure. Wilford Evelyn Selbie and orth play the parents with hy, and James Marcus makes ndtather o shrewd, kindly soul whose comment about Rufe, ~“I've never seen a man so hell-bent fer | Heaven as he is,” gives the story its ther Cutchin, billed as “Queen of the Planoforte,” plays Liszt's “Hun- garian Rhapsody, No. 2,” with spirit, and Charles McDonald, blind bari- and war veteran, with Elizabeth i and a Bruce orchestral music, complete the bill. COLUMBIA—"Fine Manners. Critics with the temperament of screen prima donnas have been hold- ing their shafts none too carefully in leash in regard to Gloria Swanson. In a measure they are correct, in detecting an impulse on the part of Miss Swanson or her directors to get by on_a reputation. However, in “Fine Manners,” which opened yes- Gloria ter at Loew's Columbia, reveals that she still retains her ient for interpretation whenever she is given a chance to use it. As Orchid Murphy, a chorus girl, Swanson should confound her deadly critics and give enor- pleasure to her large following. In addition to the work of the star, the picture represents the home- coming of Eugene O'Brien, who not so long ago was breaking hearts with his curly hair and the other accouter- ments of the matinee idol. Since those days Eugene has developed a ‘double chin and become probably an actor, thus offsetting the disadvan- tage that might come from the chin, Manners” opens on New THE EVENING STA | forget it, or to merely remember the WASHINGTON, Year's eve in New York, when every one is supposed to have forgotten even his worst manners. Donald Brian, a rich young chap, gets fed up on the soclety ball he is attending and goes out into the street to see life. He hasn’t gone very far when Orchid Murphy takes him for her partner in the revelry of the evening. It ends in w raid, a black eve for Donald and a blossoming of young love. Then comes a period of training in “fine manners.” Before the gay Or- chid is to take her placé in the 400, it becomes quite evident she must have met the “things to do.” Aunt Agatha, Donald’s choice for an iu- structor for the girl, undertakes the task while he goes to South Ameri- ca. The transmutation period is one of considerable interest, and when Donald returns he finds the change too sharp, decides he does not love the new Orchid and decides to break off the engagement. To make a long story short, however, he doesn’t. A better than the average Mack Sennett comedy, the newsreel and music complete the bill. WARDMAN PARK— som: Of the great number of photoplays made in the last few years, few have survived vividly in the memori motion-picture audiences. Many mediocre, some bad, few, ind really great. “Broken Blossorn one of the great ones. In additio a good story, good actors and good settings, it has one of the elements of greatness often overlooked—it has an appeal that is probably due more to the director than to any other factor. ‘Broken Blos- soms” was one of riffith’s earliest suc- cesses, and, like many of the greater pictures of the past, it served to bring new stars into prominence. This was one of Richard Barthelmess first triumphs, and it also put Lillian Gish among the higher lights of iilmdom. The story concerns a little Hack- ney girl, who never knew that kind- ness existed until she came In con- tact with a disillusioned young Chi- nese poet. Then, for a short time they both live anew, only to have their spark of happiness extinguished by a brute—her unnatural father— a Limehouse prizefighter. The action of the picture is laid in the water- front slums of London, affording ex- ceptional opportunities for fine pho- tography. “Broken Blossoms” is one of a serles of revivals fostered by the Motlon Picture Guild, which fs seek- ing to ralse the hest of the pictur of the past to the intellectual status of appreciation enjoyed by the better stage plays. Heretofore, there has been a tendency to see o film and star. If this can be counteracted, it is believed the motion picture may really lay claim to the rank of art. That the revivals are proving pop- ular is manifest by the improvement in attendance at recent performances A short film, burlesquing the day of chivalry and of Robin Hood, also is on the program. TIVOLI—“Footloose Widow: Waring's Pennsylvanians have | ved their impedimenta from Cran- ‘s Metropolitan to Crandall's Tive for the current week e a same melodious ors with the serecn featur B € INTERNATIONAL LAW INVOLVED IN FIGHT Men From U. S. Destroyer Aoenled of Shooting American in Brit- ish Dance Hall. By the Aseociated Press. LONDON, August 30.—A question of international law has arisen be- tween London and Washington, says a Gravesend dispatch to the West. minster Gazette, owing to the refusal of the American destrover Lardner to surrender to the British police Ameri- can sailors alleged to have been con- cerned in the shooting of an American negro sallor, Emile Parades, in a Gravesend dance hall. Parades is in the hospital. It is stated that all the men from the destroyers Lardner and Sharkey who were present in the .dance hall when the dispute occurred are held in custody aboard the Lardner, and that an investigation is being conducted by 4 board of three commissioned officers, who invited the British police superin- tendent of Chatham to assist them. The board has not yet been able to fix the erime on any one, and the de- parture of the destroyer for Spain to- day may be delayed. Although the British foreign office has appealed to Washington there ap- pears to be little doubt that the action of the American officers will be upheld. locse Widows,” ar modern comedy- drama, featuring Louise Fazenda and Jacqueline Togan, supported by Ar- thur Hoyt. Neeley Edwards and Mack Swain. Their program is diversified, and the applause continued long after they had played their last number. The story of the photoplay is an en- caging one and concerns the experi- ences of a pair of husband-hunting gold diggers who promote smart, so- phisticated, gay and surprising con- tacts with the weaker sex. Short reels and excellent pipe organ music by Ott6 F. Beck and Tda V. Clarke round out the bill. CENTRAL—“When Husbands Flirt.” Dorothy Revier, choice of the Wampas—if you know v\hc- they are— s one of their “baby stars” who some day will seale the heights, is pictured at Crandall's Central Theater the first two days of this week in “When Hus- Flirt,” a fastaction story of lyweds who encounter the usual difficulties that follow the male sex's lust for wandering. In this instance, however, th~ poor fish's escapades are entirely innocent. Our Gang in Hal Roach’s two-reeler, “Baby Clothes,” supply food for laugh- ter, and short reels, with pipe orsan musie, round out a program of pleas- ing entertainment. AMBASSADOR — “The Duchess of Buffalo.” “The PBlue Boy,” a romantic two- reel drama, beautifully executed in natural colors and suggested by the »mous _Gainsborough painting of the same title, is being shown the first s of this week at Chandall’s dor as a brilllant, if modest, Ambas companion piece to Constance Tal- madge’s First National “The Duchess of Buffalo.” Both production, reviewed elsewhere in olumns, The Avenue at Ninth . MOXNDAY. 'AUGE’ST "D.JJ KAUFMAN ixc I 30, 1926. o, AVE. AVE. ; 1005 Penna. 1724 Penna. OFF WITH A RUSH Our 4th Annual | Pre-Season Overcoat Sale = At Both Stores (and Topcoats) M ade of pure Virg’in wool by the Nationally Famous Oregon City Virg’in Wool O'coat M anufacturers Values $30 & $35 Loose boxy models —>Single and double breasted —Light and dark colors —Sizes34to46 Mothers, wives, husbands and sons—take it from me, the values offered in this O’coat and Topcoat salg exceed anything that's ever been attempted in this town. When you can buy Overcoats of pure virgin wool—as made by the nationally-known Oregon City Woolen Mills—at a price of $19.75— it’s time to “stop.” We'll get $30 and $35 for them in October. - . Radio J0E A Deposit Will Hold Your Sele(;tion .$19.75 Money’s Worth or Money Back D. J Kaufman 1005 Pa. Ave 1724 Pa. Ave. Broken lots $35 Woolen Suits. . ....... (Extra Pants to Match, $4) INC.