Evening Star Newspaper, January 9, 1927, Page 63

_in all BY .C. E. OW that the motion picture producers have brought out | their lists of the best photo- plays of 1926, it would seem | proper and fittirig that a selection | be made of the best WasHington pictures of the past year, confining the list, of course, to the screen pro- ductions seen in the Capital during the past 12 months. Many of the pictures included in the lists of the producers and critics of other cities | have not been exhibited in Wash- | ington, and it is, therefore, i sible_to class them as good, bad or | After a_close scrutiny | tures exhibited by local nagers, the following list | ake in the best of the Parade. hinet of Dr. Caligari.” “Variety.” “The Volga Boatman.” ‘Faust.” Stella Dallas.” Ben-Hur.” The Sea Beast.” Top_honors should probably go to “Ben-Hur,” which is a colorful, thrilling, workmanlike spectacle. The big picture was two years in prep- | aration; its mob scenes, chariot race and amphitheater views stand out as triumphs of the motion picture | industr The two German films, “Variety” and “Faust,” deserve spe- cial mention, for their acting and lighting effects _are remarkable. “The Cabinet of Dr. Caligari,” also a German film, is a novelty—pro- duced as a picture of that character ~—yet it is superbly done and attracts | unusual attention from large audi-| ences. “The Volga Boatman” a| bit of fine art—like an oil painting | the colors from an artist’s alette. “The Big Parade” tops the ist of war pictures, and it will be a box office attraction for years to <ome. “Stella Dallas” is a picture of eplendid acting—the very best work of Belle Bennett. For thrills that go with a story of adventure, John Barrymore's “Sea Beast” stands out in a class by itself. Other photoplay is receiving consid- erable mention in “best” lists for the year 1926 are “What Price Glory,” “Beau Geste” and “Old Ironsides,” but these have not vet been exhibited in the Capi- tal and they camnot. he included in the all- Washington group. | Other screen productions just escape a place in the preferred list, as “Manon Lescaut,” with Lya de Putti as the star, and “Tramp, Tramp, Tramp,” a comedy with Harry Langdon. A bad ending, “produced especially for American audiences,” turned “Manon Lescaut” into an or- dinary picture. And in all proba- bility Harry Langdon will have a comedy in the 1927 list, as his work is improving with each of his pro- ductions. * kK X % EWSPAPERS and news reels are playing important parts in the educational scheme of today. Many schools took up the plan of keeping pupils abreast of current events by the study of newspapers, and now the news reel is coming in for special attention. Naturally, the movies of bathing beauties and actresses with their pet ant-eaters are cut from the films before their exhibition in the schoolrooms, only the stirring pictures of news events being displayed for the youthful au- diences. The Boston Board of Education has introduced the current events movies in 40 schools of the city. The experiment was tried early in October, the reels being used in con- nection with newspaper reading, and ‘it has proved such a success that it will be extended. An announce- ment from Boston is as follows: “The films used are the same as those shown in the theaters, only carefuly censored. The schoolrooms undergo special fireproofing to com- ply with State laws. With the use of the news reels the lessons are given in the assembly rooms, all the classes being handled by a single teacher.” Thomas A, ison remarked re- cently “that the time was coming when textbooks and teachers would be supplanted by motion pictures” but this will be in the far and dis- tant future. * ok % % ATURAL vision (stereoscopic) motion pictures are to be the big_advance in the film industry of + 1927, according to word from the e Borden in her new picture, peloased within the next few weeks. FlasheLFrorLtbiScreen | tions of the talking photoplay dur- NELSON. of work head of the Essavi nay Co., and Commodore J. Stuart studios. Through the George K. Spo Blackton, founder of Vitagraph, hqth{ pioneers of the motion picture in- dustry, the new step is expected to, revolutionize screen production and | bring the screen closer to the legit- | imate stage. Natural vision pic-| tures will give to the screen the| third dimension—depth. The “close- | up” will be eliminated and scenes will be exhibited continuously with- | out flashbacks or other interrup-| tions, necessitating many rehearsals before the play is ready for the| camera | The American” is the vehicle se-| lected by Spoor and Blackton for | the first natural vision photoplay.| The story was suggested by the late | Col. Theodore Roosevelt to Mr.| Blackton. Work on the picture will | i start this month. * oK oKk A SIMPLIFIED talking motion | picture is expected to see the | light of day during the coming year. | There have been numerous experi- nents and a few public presenta- 1926, and plans are already under | way for the simplified invention.| | This will take the Broadway stars into the small towns of the Nation, according to the promoters. Another feature of film produc- tion from which much is expected ! | during the coming year will be color photography. The color pictures | have been more or less of an experi- ment, but recent changes indicate | that they will play an increasingly | | important part in the photoplays to be released during the coming vear. Sty S ARTLING figures come from the West Coast. where a survey| shows that $197,000,000 will be spent by the motion picture industry dur- ing the coming year. Twenty-five million dollars less than that amount was spent by the California pro- ducers during 1926. It is estimated that the weekly pay rolls on the West Coast will average about $1,750000, and schedules of the largest producers call for expendi- ture of $30,000000 more than last year. However, to reach the figure set—$25,000000 over last year— $5,000000 of the amount was de- ducted to cover decrease over 1926 figures because of consolidation, closing of studios and other changes. comes word * Kk % X FROM Hollywood that Lya de Putti's contract with Famous Players has been abro- gated by mutual consent, but that the company will use the services of the actress on a free-lance basis. The Oregon censors “killed” the picture, “Ladies at Play,” but later agreed to its production after cer- tain cuts had been made. | “The Kid Brother,” Harold Lloyd’s newest picture, is to be released dur- ing January. It will be exhibited first at the Rialto Theater, in New York. 1 Tom Moore is to have the princi- pal role in support of Gilda Gray in “Cabaret,” which will be started on Long Island this month, Robert Vig- nola_directing. “Moana of the South Seas” is hav- ing a record run in Paris. The pic- ture has just completed its - fifth month at Copeau’s Theater Vieux Columbier. “The Black Pirate” is having a_run in the New Gallery Kinema, in London. Seventeen reels of the Ufa film “Metropolis” have arrived in this country, and the picture is being cut for exhibition. The premier will be given at the George M. Cohan The- ater, New York. after the run of “Michael Strogoff” is completed. George O'Brien and Kathlyn Perry will have the leading roles in “Is Zat So?” The play was bought for the movies after a long stage run, Robert Z. Leonard has completed “The Demi-Bride.” The picture has three stars—Norma Shearer, Lew Cody and Carmel Myers. Ramon Novarro's new vehicle is “Old Heidelberg,” with Ernst Lu- bitsch directing. Chester Conklin will be the “comic” of the produc- tion. John Barrymore, after several months of movie work on the West Coast, has sailed for a cruise along | South America. | Michael Dantchenko, son of one of the founders of the Moscow Art Theater, will have a part in Norma Talmadge’s “Camille.” ng of the Flame,” which will be THE SUNDAY STAR, WASHINGTON, D. C, JANUARY 9, 1927-PART 3. CANTOR, BILLIE BY ROBERT E. THAT lively and informative jour- nal, Variety, has undertaken to grade the various fllm stars accord- ing to their respective values as box- office drawing cards during the sea- son just past. At the head'of all lists stands the name of Harold Lloyd, which comes as no surprise to those who have kept their eyes on recent develop- ments in the silent drama. Not since the golden age of Charlie Chaplin has any star, man or woman, enjoyed the incalculable popularity or the incred- ible prosperity that is Lloyd's. Chaplin started slipping after he made “The Kid,” five vears ago; it was then that Harold Lloyd com- menced his remarkable ascent. He | has continued that climb with almost {no interruptions, his products along the way having included such mem orable comedies as “A Sailor Made Man,” “Grandma's Boy,” Last,” “Girl Shy,” “The land “For Heaven's Sake.” Now Lloyd is at the top of the | heap—a position which, be it said, he richly deserves. T Following Harold Lloyd on ‘the Tamous _ Players-Lasky list are Douglas MacLean, Thomas Meighan, Adolphe Menjou, Pola Negri, Rich- ard Dix, Bebe Daniels, Raymond Grifith, W. C. Fields, Eddie Cantor, Florence Vidor, Betty Bronson and Jack Holt, in the order named Featured Paramount players who ire coming to the fore are Wallace Beery, Raymond Hatton and Clara Bow. | It ‘seems to me, from where I sit, | that Richard Dix should rank higher |in the box office scale—but Variety | figures are undoubtedly more authori- tative than mine. i * Kk ok K | The Metro-Goldwyn list reveals | the amazing leadership of ILon { Chaney, who has suddenly developed strong drawing power as a result of “The Unholy Three,” “The Black- bird” and “Tell it to the Marines.” After Chaney come Norma Shearer, Marion Davies, John Gil- ert, Lilllan Gish, Buster Keaton | Ramon Navarro, Jackie Coogan and { Mae Murray. “Safety reshman’ | PRI | The First National stars a graded as follows: Colleen Moore, | Norma_Talmadge, Richard Barthel- mess, Milton Sills, Corinne Griffith, Constance Talmadge, Harry Langdon and Johnny Hines. Dolores Costello is ahead of John Barrymore on the Warner Brothers' list, with Rin-Tin-Tin, Monte Blue, Syd Chaplin, Patsy Ruth Miller and Irene Rich following. In United Artists ihe grading is: Charlie Chaplin, Douglas Fairbanks. Mary Pickford, the late Rudo!ph Val- { entino, Ronald Colman, Vilma Bank and W. S. Hart. Next year, this group will be augmented by Gloria | Swanson, the Talmadge iste: John Barrymore and Buster ton, and it will be interesting to observe | what revisions in the relative stand- 1 ing will result. { _The Cecil De Mille unit is headed by | Willlam Boyd, Leatrice Joy, Rod La | Rocque and Vera Reynolds. William Fox's mainstay is still Tom Mix; Universal's is Reginald Denny, and F. B. O.'s is Fred Thomson. The supremacy of all three of theze stars is unquestioned, DoucLAs FAIRBANKS - DOVE and LAWRENCE GRAY — Columbia - pa‘ace/ . SHERWOOD. Comparing these various lists, the casual observer finds that few definite conclusions can be drawn. In Famous Players the comedians appear to be supreme, but the same rule does not apply to Metro-Goldwyn, where Lon Chaney ranks far above Buster Keaton. In First National Colleen Moore, a comedienne, is at the top, but Harry Langdon and Johnny Hines are near the bottom. Another interesting aspect of the First National list is that Ben Lyon, generally supposed to be an enor- mously popular star, is placed among the “feature players” below Lew! Stone, Anna Q. Nilsson, Dorothy Mac- kaill and Jack Mulhall. * % % % What 1s it that makes a box office star? The answer to that one is easy— good pictures. That's the secret of Harold Lloyd’s success, Lon Chaney's 8success and every other real success that has been achieved on the screen. Sometimes stars will appear over. night, as a result of sensational press agentry or other forms of artificial stimulation. But they don’t last long. Furthermore, even those stars who have founded their fame on substan- tial merit cannot hold their positions in the public’s eye if they don't keep up the good work. Richard Barthelmess once told me that three bad pictures in a row will utterly ruin the greatest star in the movies. There have been too many lamentable proofs of this statement to render it open to argument. That's an encouraging thought for the humble movie fan to bear in mind —it is he or she who makes the stars, and he or she who has the power to break them. Bulletin: HOLYWOOD, Calif.—Metro-Gold- wyn has a new story for John Gilbert. It is “The Prodigal Son,” by Hall Caine. “The Rough Riders” has been com- pleted and will be placed on view soon. The latest ‘“epic” on schedule is concerned with prison life. It is called “You Can’t Win,” and it should be followed by one about the Chicago gangsters, entitled “Is Zat So?" The title of John Barrymore's last Warner Brothers picture has been changed from ‘“Manon Lescaut” to “When a Man Loves,” which is all right, too. Speaking of titles, there are several examples of alliteration in prepara- tion, illie the Toiler,” “Lief the Lucky" and “Lily of the aundry.” {Copyright. 1927.) Next Week's pl’\otop]ays. COLUMBIA—Lillian Gish in ‘he Scarlet Letter.” METROPOLITAN—M ilton Sills in “The Silent Lover.” RIALTO—Vilma Banky and Ronald Colman in “The Night of Love.” PALACE “Valencia.” — Mae Murray in GEORGE BEBAN- Earle HOTOPLAY- ViLLIAM COLLIER JR. and DOROTHY MACKAILL - motive for much of the st mazing feats, and Tempe | luenna role. Outst; les are offered by . Sam de Grasse, and Charles Steven: e most vil lafnous pirates that ever stepped from the pages of a story book The Spanish the seven teenth century is the locale of the story, which concerns a young noble- ’ man whose ship is scuttled by a pirate (GRETA [band and who joins the pirates to | NISSEN- Rialto Metropoliter Public Wants Clean Films A RECENT Nation-wide canvass of theater owners engaged in show- ing motion pletures points out con- clusively that the type of film’ which appeals most directly to the public, as evidenced by attendance at theaters, is the clean, wholesome and genuinely native American prod ict. The box office reports compiled by men who cater firsthand to the de- mands of the public, and sponsored by | Exhibitors’ Herald, a large motion picture trade magazine, revealed the fact that heading the list was “The Keeper of the Bees,” an F. B. O. pro- duction, made from the story by America's beloved woman novellst, Gene Stratton Porter. Of 104 motion pictures selected as having appealed most widely to movie goers, this film received the greatest number of votes, 187. The nearest ap- proach to this record was ‘‘The Cohens and the Kelleys,” with 169, The census was taken for the produ tion year 1926, up to the end of No- vember The simplicity, the purity, the dra matic and entertainment value of “The Keeper o the Bees” are given as the causes of the census result. M IN some respects,” says Harold Lioyd, the noted screen comedian, “audiences comprised largely of chil- dren offer us our best test of what is tunny in a picture. “Youngsters today, like their par- ents, have become picture ‘wise.’ They will not laugh at anything that js funny on the face of it, and it is ex tremely surprising how they will an alyze what we call ‘gags,’ the funny bits of business with which we calcu- late to obtain laughs. We refer, of course, to the youngsters who have reached the reasoning age, for it is, after all, with this group that we largely have to deal. “Children up to 6 years old, we might say, are like savages. But when they begin to reason that puts a dif- ferent color on the situation. “The child mind is very impression- able. Without attempting to be at all scientific about the matter, I have fol- lowed with keen interest a child’s re- action to a tense and then a succeed- ing laughing moment in one of our pictures, It was at a pre-view showing of ‘The Freshman,’ which in England was called ‘College Days.’ “I picked as my subject a boy who appeared about 8 years old, His knowledge of foot ball was apparently well grounded, for American young- sters are ‘up’ on this game about as well as they are on base ball, the na- tional pastime. Toward the end of this picture, in which 1 made the win- ning score, the action did become ex- ceedingly tense for children who were at all familiar with foot ball. This little fellow became so wrapped up in the action that he began hiting his nails, squirming in his chair, and finally arose to his feet, no longer able to contain himself. He let out a scream, ‘Come on Harold!" which re. sounded all over the house. He actu- ally seemed to be pushing me acros the goal line. “Finally 21 men piled on me, and it was a question whether T had scared the winning points when the final whistle blew. As the boys unraveled themselves I lifted my face from the goal line, smeared with chalk but hav- ing scored the deciding touchdown. This youngster just howled with glee. 1 was afraid he couldn’t restrain him self. He gave way completely in his elation. The nervous strain had van. ished and in its place came the mental relief, which is the thing that really permits adults to give themselves up to laughter. And the same reactions probably were experienced by many other children in the audience. “Children demand action. _They crave that fast-moving type of com- edy as exempiified by the foot ball finish in ‘College Days,' the chase sequence which concluded ‘Girl Shy’ and the rapid-fire type of action we tried to incorporate in ‘For Heaven’s Sake.” Children are spontaneous in their reaction to comedy, relish the un- expected, and are always for any- thing the ‘hero’ may do in a hu- Chilclvrgn‘s‘Laughter. 11t is patronizing® the vill to the villain, or villains, as the case may be. Being undaunted by so-| called propriety, a child's laughter is as boisterous as it is spontaneous, and reacts quickly to the suggestion of the ‘next door’ seat holder. “Laughter for adults contagious, they say, but for children I believe infectious. “On the other hand, we have seen what apparently were sure-fire sit- uations for children just fall flat at a showing. It is impossible to explain why. I have tried to figure out the reason but to no avail. “The mind of a child is, after all, a complex bit of machinery, and the | wisest of us adults cannot compre- | hend it, much as we pretend to. Chil- | dren today are eye-minded, rather than ear-minded. They are learning faster through the eye than through the ear, and motion pictures undoubt- | edly have been responsible in a large | degree for this situation. Conse- quently we have always endeavored to maintain our pictures free from anything that might even border on | the suggestive, or that might possi- | bly leave an unfavorable impression on the mind of a single child. “We do not have to protect the adult mind, but the children are at the mercy of those who appeal to them on the motion picture screen. They are so overimpressionable that frequently after one or another pic- ture we recelve word from soms fond parent telllng us of an experience of their child modeled after some- thing they saw in one of our pictures. “The child mind, however, fs still primitive in some respects. Children still like to laugh at the difficulties ot older persons. You can still show a man slipping on a banana peel and get a big laugh. Or the hot stove, with its crudities in comedy-making, still provokes childish laughter, but the average yvoungster comprehends quickly now the more subtle aspects of humor. They follow your story closely, and hours after the picture Is over can relate to you almost everything they laughed at, and, moreover, can tell you why they laughed.” Balkan Girls Aflutter SOFIA, January 8 (#).—Balkan girls are all aflutter over a motion picture beauty contest. It is a new wrinkle to the women of Bulgaria and other central' European States, and there are many thousands com- peting for the ultimate prize of be- ing declared the “Beauty of the Bal- kans” and going into the movies, An_American company is conduct- along time-honored countries. In this part , however, nothing like it has been $een and girls who never had their cameraman, ! morous as well as a dramatic way who often I8 many. miles awagn SILENT DRAMA ATTRACT COLUMBIA—“The Black Pirate. RIALTO—“The Popular Sin." METROPOLITAN—"“Just Another afternoon and evening. PALACE—"Kid Boots" TIVOLI—"“Everybody's Acting.” AMBASSADOR—"Just Another I ning. WARDMAN PARK—"Chained.” CENTRAL—“Her Honor, the Gove COLUMBIA—"The Black Pirate.” Douglas Fairbanks in one of the most thrilling offerings of his career, “The Black Pirate,” will be the photo. play feature at Loew's Columbia Theater this week, starting this after noon. It was fiimed entirely in techni color and pictures some Fairbanks feats of daring never attempted be fore. There are but two women in its cast—Billle Dove, leadin. woman, whose beauty and distress furnish the escape from their island rendezvous and to exact revenge for the death |7 of his father. The picture attains its crescendo in the rescue of a beautiful girl who has been captured by pirates and apportioned to the lainous second mate. App: vil her last hope of succor s gone the young nobleman is detecte doubie-dealing and made to walk plank. Two episodes of the picture st—a marvelous underwater scene in which a platoon of pirates are shown swimming in ranks under water and rising at given signal to board a ship; the other, when Fairbanks, to prove his prowess as a pirate, les down the entire depth of a sail splitting the can: with a knife and making the ship helpless as he does so. are of special RIALTO—"The Popular Sin.” Florence Vidor's new Paramount starring picture, “The Popular Sin," | adapted from Monta Bell's original screen story, with Clive Brook, Greta Nissen and Philip Strange as the fea- tured players, in_a comedy of mar riage and divorce laid against a back ground of Parisian society life, is the | feature at the Rialto this week. Described as a ‘“triple triangle story,” there are three distinct situa- tions, in which two men love one woman or two women love one man. There 18, to be sure, one man whom the heroine really loves, but when she meets him she is marrfed to another. Divorce results and she is happily re- married. But another woman enters her husband's life and a second di- vorce ensues. How she finally rewins the man after his second divorce pre vides the climax to this engaging and sophisticated comedy Elsie Huber, who is known as “Broadway's Belle of Blues ,"” head- lines the stage presentations in an offering of popular song selections and ballads. Also featured will be Rox Rommel, Otto Beck and Carlson Har- grave in a program of syncopated numbers, using three pianos. Rox Rommell will also conduct the Rialto Orchestra for the overture, orthern Rhapsody Buster's Sleigh Rid tional N 1s will round out the bill. METROPOLITAN—"Just Another Blonde.” Van and Schenck. Van and Schenck, highest priced and popular singing comedians, will begin their second and final week at Crandall's Metropolitan Theater this | afternoon. 3 The photoplay feature will be First Natjonal® rele Beaumont's stery under the title, Blonde,” with Dor Jack Mulhall co-starred en Stephen,” Another v Island dance plac shooting gall a ticket seller at and two youthful lookouts in one c New York's ornate gambling estab lishpgents. Their love affairs becom decidedly complicated and the climax of the spirited action of the play i reached In an airplane flight taken for purposes of holiday pleasure only but ending in a catastrophe that sets right the lives of the four principal in_the plot. Van and Schenck begin where others leave off. Their songs are rendered in a manner that is as unique as it is effective. They will be heard this week in an entirely new group of numbers. They will appear at 3:35, 5:85, 7:35 and 9:40 p.m. today and at 3:35, 7:35 and 940 p.m. or week days William Fox's film version of O. Th “Jazz Week’ This the | * and a comedy, ; the Interna- ws, an organlogue and short | > of the late Gerald | IONS. Blond Van and This aftern ernor.” | Henry's amusing story of “Babes the Jungle,” the Metropolitan We ‘ | Survey and a musical program by | e Metropolita: 3 phony Orchestra | under Danfel Breeskin will be added The concert overture will comprise | sele s from Rudolph Friml's ope | eretta, “The Vagabond King,” and the interpretative score f¢ Just Anothee | Blonde” wi two reeurrent | themes, »mposition, “We'll | Have a dom,” from “The Wiid | Rose,” Dear O Pal of Mine,” { the ballad by Lieut. Citz | exit imber will be | Kisses,” from Earl Carvoll’ itles."” ;l',\l.\( E—"Kid Be ts,” “Jazz \Veek."” | Loew's Palace Theater this w | beginning this afternoon, will presc | its” second “Jazz_week' program connection with Eddie Cantor's scre | production of “Kid Boots,” from | musical play by Willlam Anthony Mec [ nd Otto Harbach, featuring | Guire th Billle Dove, Clara and a group of | produced under the | personal direction of Mr. Zlegteld bv | Director Frank Tuttle. Eddie appears as a_tailor’s helpac | rescued from tt clutches of .an irate ung millionaire whose trying to invalidate nt. In a spirit of stome chorus his suit for gratit the tailor's helper attaches himse to his rescuer and is the | means of thwarting the designs of » chorus girl not until he has | nearly ruined his own chances with | his sweetheart In the stage program will be the e Collegians’ “Isle of Blues" Orchestra, syncopationists describ a duates of melody in - mony capers on & musical campus Robert Stickney, late of the Charles B. Co ue, in London, who { will offer the novelty of the Charleston |danced on stilts; Sammy Lewis, the | jazz-mad dancer, a_brot of Goldie Ahern, and Sonia Meroff, described as a “blue, blue singer from red, ged Russia,” and the Palace Orchestra, ‘homas J. Gannon, conductor, in zz Through the Ages.” stagd Colby Harriman, with Helen Nesine of Gus Edwards’ School in a Charles- ton number; alse the Palace Maga- zine, Topics of the Day, an Aesop's Fable and Dick Leibert's Organlogue. WARDMAN PARK—“Chained.” Beginning today, for the entire | week, the Motion Picture Guild will | present the premiere showing | Uta’s latest m: “Chained,” | a study in psychology, based on the life of the sculptor Rodin, from the | | erpiece, novel by Herman Bang. Benjamin Christiansen, noted director of sev- eral recent American photoplays, ces the part of Rodin, the sculptor, whose love for a young companion is the theme of the picture. CHILDREN'S SATURDAY PROGRAMS. | The selected program for children, Saturday morning, January 15, at the Tivoll Theater is featured by ‘When Knighthood Was in Flower,’ | with Marion Davies in the title role. Many will recall the beauty and popularity of this costume of the period. Its length requires starting promptly at 10:16 a.m. At the Chevy Chase Theater, Har- old Lloyd in “The Freshman' an Our Gang Comedy gnd Aesop make an all comedy bill, always popular with the boys and girls, and | usually enjoyed by grownups. | Crandall's January CP.A NDALL'S Metropolitan Thea- ter announces an interesting list of photoplay attractions for the cur- rent month. Following First Nation- al's production of “Just Another Blonde” will be presented, the week of the 16th, First National's produc- |tion of “The Silent Lover,” adapted | from Lajos Biro's novel of “The | Legionnaire,” with Milton Sills as its star; the week 3, the Wil Fox pre Summer | Bachelors,” w amy and d the week of Janu- ional production, eep,” in which llan For: Richard Barthelmess is the star and Ruth Miller is featured. Karl Volmuller, author of “The Miracle,”” the Max Reinhardt play, is aiding Douglas Fairban research work for “The Byotherhood of Man.” s s o T Helen W old, is pai Helyweod n(lni a portrait of John Gilbert, star of ot~