Evening Star Newspaper, January 13, 1929, Page 60

"AMUSEMENTS." FILMOGRAMS Bits From the Studios and Theaters. EARLY 200 pictures were im- ported and shown in this coun- try in 1928, as compared with 75 such pictures in 1927. The importations_coming, 83 from Germany, 37 from England, 30 from France, 16 from Russia, 7 from Sweden, 6 from Italy, 4 from Poland, 2 from Argentina and 1 each from Canada, Czechoslovakia, Egypt, India and Nor- ‘way. Fifty-four leading producers are ex- pressing the belief that sound pictires are just the thing to boost box office rveturns, but there are a few of the lead- ers who are still skeptical and others who accept the general proposition with much hope and an if. First National announces 35 pictures for next year, with a production budget of $18,000,000, and Warner Bros. re- cently announced that they would have 35 pictures, all, of course, Vitaphone production. A news report states that Fox has just_closed a deal for a site in Boston at Boylston, Tremont and La Grange streets, and it is both declared and de- nied that he is to erect on it a $10,000,~ 000 theater, seating 5,000 people, in a 24-story building. It is also reported that the Keith- Albec-Orpheum combinaticn will erect a New York theater to perpetuate the name “Broadway,” the old Broadway theater having been doomed to make way for a new skyscraper at Forty-first and Broadway. The exhibitors have been picking the «10 best” and their choice is as_fol- lows, in the order named: “The King of Kings,” “Uncle Tom’'s Cabin,” “The Legion of the Condemned.” “The Gaucho,” “Sorrell and Son,” “Seventh Heaven,” “The Way of All Fles “West Point,” “Wild Geese” and “Tel ing the World." For “The Barker,” a recent at- traction in Washington, the Central Theater, New York, raised its price of admission from $2 to $2.50. It some- times pays to live in Washington, even if you can't vote here. ‘The almost unanimous acclaim of sound and dialogue pictures among producers is broken here and there by a very strong declaration that silent pictures must not be sacificed in num- ber or quality. Sam Katz, president of Publix The- aters Corporation, the Paramount aux- fliary, is quoted as saying: “Whether the major feature picture success of 1929 will be all-talking, part-talking, syn- chronized or silent, I believe it is im- room for both sound and ‘aflent ple- tures. ‘Warner Bros, in their picture, “Con- quest,” shown at the Earle Theater this week, seek thereby to give some idea of the recent expeditions to the South Pole and the adventures they will encounter. They secured for the' picture the Albatross, said to be the largest airplane in America, a three- motor monoplane, owned by the Zenith Aircraft Corporation of California, and also had the making of the picture, su- pervised by Lieut. Comdr. J. E. Dyer of the United States Training Station at North Island. Audrey Ferris, the Wampas “baby star” with the Warners, was obliged to cry so much as a jealous wife in the picture “Beware of Bachelors” that she was forced to use a dozen paper napkins to save her make-up. Asked by her directors what the napkins were to be used for, she replied, “They're my crying tow There are so many “10 best pictures of 1927” being suggested from various sources that it is doubtful if a really “10 best” selection can be determined. Opinions will differ, even among ex- pert critics, and, after all, what differ- ence does it make? Film Daily calls “In Old Arizona” a distinguished production, “The Aristo- crat of Westerns,” and says it has “sus- pense, comedy, charm, human appeal and passion that flames,” with outstand- ing performances by Warner Baxter, Edmund Lowe and Dorothy Burgess, a newcomer. It adds “Direction of class A caliber, for which both Raoul Walsh and Irving Cummings each get credit.” Above all, it has “sound that sounds natural.” Pathe is now battling to prove that censorship of sound pictures is a de- nial of free speech guarantced by the Constitution. With “My Mother's Eyes,” George Jessel digs right into your heart three times in “Lucky Boy.” He also wise- cracks, puts over flashes of imitations, warbles other tunes and, to sum up, provides you with an hour and a half of real entertainment. This is Film Dally's verdict. This “Power Trust” is a persevering cuss. Western Electric has now formed a “department of educational talking pictures,” with F. L. Devereauz, Bell Telephone Securities Co., vice president, as its head, and, it is said, the com- pany looks to extension of its use of possible for any one to say at this mo- ment.” Jesse Laskey says there is the educational field other than in the mere matter of amusement. Ideal Irish Lover. BY virtue of having been born in Donegal, Ireland, in addition to possessing the other qualifications nec- essary, Frank Gallagher, who plays the role of a seafaring lover in “Hit the Deck” with Kate Smith and the Savoy ‘company at the Belasco, is said to merit the title of “an ideal Irish lover,” which has been besmweg upo:x him by some of the flapper contingent. After spending his early boyhood in Glasgow, Scotland (he was born in 1906), young Gallagher moved to Amer- ica and started his stage carcer as & “gentleman of the ensemble” in the origical “No, No, Nanette” company in New York. That was at the end of his jonior year at St. Joseph's Preparatory School in Philadelphia. Here is the young actor's account of his career: .“I was in my_sophomore year at St. Joseph's when I first con- tracted the stage germ. In my fresh- man year I was content to struggle with Caesar, but a term later these subjects paled so that I would “bag school and sneak off to the Wana- maker Auditorium to listen to the or- gan recitals. On days when no con- cert was held one could find me in front of the Globe Vaudeville Theater looking at the performers. By the end ©of the junior year the faculty discov- ered that I was found wanting in Greek and I left by request. 1 was gorry, for it meant giving up the let- The Second HE extent to which theatrical tra- dition influences successive genera- tions of a family has its most classic example in the Drew-Barrymore clan, but that is by no means the only in- stance in which younger members of a family have succeeded to the laurels of their parents before the footlights and the lens. Richard Bennett's daughters, Maurice Costello’s, Fred Stone’s all carried on the family profession. Countless sons, too, have stepped into the paternal shoes, among them James K. Hackett's boy, Joseph Jefferson’s, Douglas Fair- banks’ and James Gleason’s, who fol- Jowed the Thespian lead of their elders. One of the most recent instances to come to the attention of the movie publis is that of Kyrle Bellew, son of the noted stage actor of the same name, who was one of the leading figures of the past generation, both in England and America. The younger Bellew hes been assigned the role of an English baronet in the cast of “The Missing Man,” Pathe's first all-talking picture. This film also presents young Russell Gleason, who plays the juvenile roman- tic lead. His father is James Gleason, actor, producer, playwright, and as both author and player of the leading roles won success with “The Shannons of Broadway” and “Is Zat So0?” Bellew, in addition to his career on the stage and screen, has managed to sandwich two other interesting occu- pations into his life. After appearing on the London stage for several seasons he became interested in South American gold mining and deserted the theater to follow this avocation in Venezuela. During the World War he held a com- mission_in the British military intelli- 4th and Butternut Sts. Parking_ Troubles “Mother Knows Best.” el MAX DAVIDSON C»OMEDY CAMEO THEATER ™ B TOMORROW-—JOAN CRAWFORD in __"DREAM_OF LO 2105 Pa. RICHARD 5 SR, “MORAN OF THE MARINES.” DUMBARTON :i&Xi5 s ELMESS and MARGARET LIVING- STON in “THE WHEEL OF CHANCE." COMEDY, “DUMMIES.” SIDNEY Lusl"r'a s HIPPODROME _ ro5e,"omorrow MADGE_BELLAMY. M KNO A WS _BEST.” ELITE 14th and R. L Ave. LIBERTY Belle_Bennett, ! CAROLINA 8 e. Ph. W 953 DIX, RUTH “THE NI ______ with BILLIE_DOVE. NEW STANTON “fncessh: CHARLES FARRELL, GRETA NISSEN TRUXTON ™uiffist: 2hd Salr™ in “THE_WARNING." _TOMORROW—""WEDDING M PRINCESS *#0ui"sitx I “HORSEMAN OF THE PLAINS.” ters which I had received in foot ball, basket ball and base ball. “I left home, fresum:bly for a week end visit to & friend in New York, but the truth is that I never went near him. Instead I went to Edward Royce, who wes staging “No, No, Nanette” and succeeded in making the chorus. 14 months I was a chorus boy. “Charles Emerson Cook, business manager of the company, heard me singing an Irish song one day back- stage at the Harris Theater in Chicago. Indeed, he just missed stumbling over me. I said I was sorry for being in the way, but, waving aside my apology, Mr. Cook said: ‘Boy, if you can sing like that I am going to give you leading parts some d-i'..l' Ever since then Mr. Cook took an berncnln ;ny gork n!1|dd ave me every ol unity he could, %t was at his lumsthm that I was taken out of the chorus in Boston and brought to New York to help stage two new Nanette companies. I was then given the role of Tom in the company which featured Cecil Lean and Cleo Mayfield.” Stock engagements in Tampa and Buffalo and & Summer’s voice study in New York preceded Mr. Gallagher's engagement in_the original company of “Hit the Deck.” Thereafter he joined Mr. Cook’s Savoy musical com- edy in Montreal as juvenile and has been refresenunz masculine love in- terest with the Savoyards ever since. Generation gence service and spent much time in New York on confidential missions. The London stage 21so is represented in “The Missing Man” production, in addition to Bellew, by no less than five men and one woman. George Barraud, Kyrle Bellew and Claude King all made their debuts in the English capital. Otto Matieson played there several sea- sons_after he achieved distinction on the stage of his native Copenhagen. Andre Beranger appeared in an Eng- lish play after an initial appearance in France, and after establishing himself in both Germany and America Frank Reicher played Shakespearean roles in London. Josefihlne Brown spent sev- eral seasons there, though her earlier experience had been in this country. Advice to WHERE GUS MULCAHY 3 CO-EDS PEGGY O'NEIL DEAN BROTHERS Leon Brusiloff, Conducting 'VERTURE NEXT WEEK THE SUNDAY STAR, WASHINGTON, D. Reinhardt and Gish., - WELCOMED at the rallway station by scores of motion picture nota- bles and leaders in the artistic life of Southern California, Max Reinhardt, foremost European theatrical impre- sario, recently arrived in Hollywood to undertake his first film work. He will produce and direct for United Artists an original story, “The Miracle Girl,” in which Lilllan Gish is to play the chief role. Miss Gish accompanied the Rein- hardt party, which includes Raimund Von Hofmannsthal, son of Hugo Von Hofmannsthal, author of the story that ork. Schenck, president and chairman of the board of directors of United Artists, is responsible for Reinhardt's entry into motion picture production. Negotia- tions were starfed when Reinhardt came to Los Angeles at the time Mor- ris Gest staged Reinhardt's spectacle, “The Miracle,” here. He displayed keen interest in Hollywood picture pro- duction, particularly in the huge new United Artists' studios. Several months later, when he returned to Europe, he vielded to Schenck's offer, after having repeatedly for years turned down prop- ositions' from American and foreign film magnates. Von Hofmannsthal wrote “The Mira- cle Girl” especially for Reinhardt, with Miss Gish in mind for the leading role, and the star went to Europe last year to discuss with the impresario the story, which is described as a modern continental romanee. Reinhardt, who is now busy assem- bling a technical staff and making tests of candidates for roles in “The Miracle Girl,” is causing the entire film colony to buzz with rumors of the startling innovations in picture mak- ing he is said to be planning. . This Is Headwork., 'HE “thought detective,” a new type of sleuth—more flendishly clever than his gumshoe predecessors—makes his bow in “Conquest,” Warner Bros. latest Vitaphone talking picture, star- ring Monte Blue, and now at the Earle Theater. He is the psychiatrist—more skilled in the subtleties of “truth” detection than is the common or general variety of detective in the apprehension of the criminal. Tully Marshall plays Dr. Gerry. By application of the principles of psychoanalysis, Marshall exacts a con- fession from one of the principal char- acters of the story which yields an im- portant link in the plot. ‘“‘Conquest” deals with the exploration of the Ant- arctic, with Blue and H. B, Warrier as aviators engaged in the exploit. ‘When only one of them returns, tell- ing a disconnected story of his rescue and the other's death, Marshall sets to work on the mental machinery of thg survivor, in an cffort to wrest the trut) from him. The manner in which he works provides one of the absorbing features of the screen play, and is dis- closed in dialogue. A Film Debutante Movie fortune has smiled upon Loretta Young, who has been a featured player since her arrival on the West Coast. 0 “THE MERRY WIVES OF WINDSOR” Now she is to be co. rred with Rich- ard Barthelmess in “Scarlet Seas.” AT-FOURTEENTH $T. @{ Vitaphone Jal AUDREY FERRIS & WILLIAM COLLIER, Jr, A Fast Flapper Bride Gives Girls While the Sheik Medico Husband Is Losing Patients 3 YOU WILL SEE JUST HOW IT 1S DONE AND MEET CHARLES TROY O’BRET, CHAS. & MACK AURIOLE CRAVEN THE BLOOMS the 12—FOXETTES—12 Darling Divinities of Dance FOX MOVIETONE NEWS It Speaks for liself WORLD NEWS EVENTS IN SIGHT AND SOUND - » DOLORES DEL RIO | THE RED DANCE” charies rarmeLt the impresario will picturize, from New } C; JANUARY 13, IN THE FILMING OF “BROADWAY” Dr. Paul Fejos, the director; Laemmle, jr. at Universal Merna Kennedy, leading lady, and_ Carl roduction supervisor, who are working on the picture “Broadway” “The Joy of Achievement”. O creator for the stage in modern memory, probably, surpasses David Belasco in the mere matter of industry, forgetting for the moment his other accomplishments. Year in and year out, with untiring effort, this master craftsman of the stage, has labored in season and out of season in the continuing effort to pro- vide entertainment for the masses. True, the world of thought and taste has been good enough to concede that his masterpleces for the modern stage are incomparable. Withal Mr. Belasco is not what is termed in these days a rich man. He has sunk thousands of dollars that might have made a tidy fortune had he saved it for his own purposes, instead of giving back to the general public, in increased effort, those same dollars. This of itself might afford food for meditation to those who clamor for an American theater. But Belasco has had other trials, other vexations, some of them in the form of “criticism” by tyros in the theater that would not hesitate to flaunt the great god Jove and think it a rich joks. And some of these, sad to have had the power to hurt, sometimes, with their insults. Mr. Belasco, in connection with his latest achievement, which he calls “Mima—The Play Supreme,” has is- sued a pamphlet which throws some light upon the spirit which guides this genius of the theater. Extracts from it may prove interesting. “Solely for the joy of the achieve- ment,” reads the opening paragraph, “and without even the slightest hope of financial reward, it is the custom of David Belasco, at intervals, to pro- duce a play so costly, so stupendous in setting and cast, that he knows the balance sheet never can show a profit. “Such was the case with ‘The Mer- chant of Venice,' ‘Du_ Barry,’ ‘The Darling of the Gods,’ ‘Deburau,’ ‘Elec- tra of Sophocles’ and other plays. These were David Belasco's voluntary contributions to the higher art of the theater, & gift in perpetuity to the history and achievement of the stage. “And now Mr. Belasco gives us ‘Mima,’ his adaptation of Ferenc Molnar's ‘The Red Mill', Many years have come and gone since the Ameri- can public has seen a production as un- usual and as gripping as this. It is a work of art, a tale told under the spell of Molnar's inimitable imagery. It is a crystal filled with entrancing gleams that tell the story of all that is hu- man within and about us. It is a tale of love and hate, virtue and vice, wealth and poverty, politics and finance. It has almost tragic weightiness, and ends with the triumph of divine love and goodness over hate and evil.” ‘The pamphlet describes Mima as “the temptress, the veritable nadir of wick- edness, the lute on which Satan and his associate, Magister, play their song of destruction. * * * Yet in the end she it is who arouses the greatest of all moral forces—the embracing love which is forgiveness—and sends the phalanx of evil rushing back into the pit of darkness. “In preparation for this climax to his notable contributions to the art of the theater, Mr, Belasco has been tofl- ing steadily for many months. * * * Countless thousands of dollars also have been expended for research and plan- ning. * * * Nothing has been neg- lected, even to the incidental music, which has been arranged by Edwin Ludwig, the talented and brilliant mem- ber of a noted Hungarian family of mu- siclans. In preparing the production the Belasco motto, “Good enough always is very bad,” has been observed to the letter. Only the absolutely per- fect has been accepted. The scenic in- vestiture marks a new period in the art of the stage. It is a sublime an- swer to the present-day theory of tin- sel and gauze and cheesecloth. “And now David Belasco gives to the world another of his super-plays —the production which is his gift, his contribution to stage art. It is the tribute of an adept of the theater to the gods of the stage, unselfish and without thought of personal reward.” ‘Taken all in all, this is a remarkable announcement from Mr. Belasco—per- haps the first of its kind ever made by him. There will be many who will read between its lines and perceive in 1t much that is not embodied in its form. And, it may be, the pert young gzma ;Bll lose ifil all in l'.he belief that P, lasco merely advertisin another play. % Bitten by the Sax. CHAHLEB “BUDDY” ROGERS, who already has mastered four musical instruments, has now learned to play the saxophone. The others are the piano, trombone, trumpet and drums. If he keeps on, he will be an orchestra lnAhln‘s’ell. gifted musician, Rogers hel; work his way through the Unlvery!:g of Kansas by playing the trombone. But to think that he would be bitten by the saxophone! WASHINGTON'S URQUE UNUSUAL AND ARTISTIC FILNS. - s A, An _Intriguing and Novel Double Feature Bill “Looking for Something Different?” Then see ERNST LUBITSCH'S delightful comedy succe: “THE DOLL” Baron de Chanterelle, hat- ing women and forced to marry, determines to wed a life-size doll. But—it turns out to be a real girl! AND “BACKSTAIRS” ’ UFA’s Gripping Drama of Life—Backstairs ! PLavig, Tod Fran NOW PLAYING A METRO-GOLDWYN-MAYER J SOUNDJPICTURE MARION DAVIES WILLIAM HAINES The story of a girl “crash- ing” the Hollywood stu- dios, and what befalls her in that adventure, told in terms of thrills, throbs and 1001 laughs! ‘'SHOW PEQPLE’ See the fascinating studio scenes, with Chaplin, Fairbanks and a score of other stars on the screen! 1f’s marvelous! p ATTRACTIONS AppED ATRL WARRY BO ONE_N! FOX MY PoPULA! oV THE PALACE _CONCERT %,,naucm T, AN M- ‘AT THE ORGAN CHARLES GAIST FROLOGUE ALACE - RCHESTRA N NEws &%TE!! 1929—PART % Brings Memories. MEMORES of his musical comedy days are being recalled to Wal- lace Beery, who again is delivering lines for an audience after many years of separation from the footlights. Beery is playing in his first all-talking motion picture at the Paramount studios in Hollywood. The picture is *“Tong War,” in which the former Henry W. Savage stage favorite plays the role of the white boss of a metropolitan China- town. “Tong War” will not be the first glcture in which Beery's voice has been eard, for he sang a rousing song of hobohemia in “Beggars of Life,” but it will be the first to record his spoken words. Beery was in musical comedy when he was signed for his first role in pic- tures, a Swedish housemaid character- ization for the Essanay Co. in Chicago, where the Savage show was playing at that time. “The Doctor's Secret.” “THE DOCTOR'S SECRET,” Para- mount’s_second all-talking pie- ture, reached New York last week and aroused keen enthusiasm among Para- mount executives when previewed. ‘The film is adapted from Sir James M. Barrie’s play “Half an Hour,” which was one of Maude Adams’ popular ve- hicles. It was directed by Willlam C. de Mille with a cast of players of stage experience, including Ruth Chatterton (in the Maude Adams role), H. B. War- ner, Robert Edeson, John Loder and Wilfred Noy. Because of its dramatic qualitles “The Doctor’s Secret” is expected to create even greater interest than “In- terference,” which has been playing to very good business. When the new film will have its Broadway premiere has not yet been announced by Paramount. Fox Studios Going. 'OX-MOVIETONE Studio made its debut as a production center mid- way between Christmas and New Year's. Benjamin Stoloff, Fox Films director, had the honor of making the initial scene for a feature length pro- duction in one of the soundproof studios in this “miracle city” that sprang into being in 90 days at-a cost of $10,000,600. ‘This did not mark initial production on the Stoloff picture, but just a re- sumption of camera work that began in New York some time ago. The picture is “Speakeasy,” a Fox-Movietone adap- tation of the stage play. Henry B. Walthall, who won fame as “the Little Colonel” in Griffith’s “Birth of a Nation,” and who since has written many dramatic pages into screen history, has a role in “Speak- easy.” Graduates .Celebritiea. PHYLLIS HAVER, the Pathe star, is a graduate of Manual Arts High School in Los Angeles. She is not the only celebrity to claim that institution for an alma mater, however, for Laurence Tibbitts, the Metropolitan Grand Opera sensation, and Bob and “Irish” Meusel, the big league ball players, are others. = g Paramount has signed Moran and Mack, “the Two Black Crows,” for two feature-length talking picture HELD OVER AMUSEMENTS.' New Foreign Films SINCE England is taken out behind the critical woodshed and spanked when it is caught taking photoplays made in America and changing them to suit the cinema appetite over there, English and other motion pictures made abroad have been imported to these shores, and it is mildly threatened will have their faces lifted and be put through other beautifying courses be- fore being paraded for the judgment of the paying American public. All of which is by the way of saying that at last the fruits of overseas stu- dios, hitherto denied to the American picture fan, except at fugitive intervals, are about to be admitted to our hospi- tality, and on the word of the company sponsoring the innovation something new in photoplay entertainment is in the offing. ‘The company is World Wide Pictures, Inc., an organization which has entered the importing field with the idea that it is good business to give American theatergoers the opportunity of seeing motion pictures produced by the na- tionals of other countries, directed by men who view screen entertainment from an angle other than Hollywood, interpreted by new screen personalities and made on the locations where the stories are laid. The active head of the company is J. D. Williams, organizer and for years general manager of First National Pictures. It is Mr. Willlams who says that the importation of motion pictures by a company specializing in this line of en- | tertainment does not mean that the flood gates will be let down to a flow of hit-and-miss photoplays. Rather, he states, his organization will bring over in the course of the year only about 40 pictures, selected from the entire out- put of England, France, Germany, Rus- sia and Austria. The first release num- bers seven films. It is interesting to note in connection with the films sponsored by the new company that they reveal American cinema stars appearing in films made abroad, a situation which reverses the appearance of such foreign players as Emil Jannings, Greta Garbo, Pola Negri and Vilma Banky in American produc- ons. Among the American stars who are featured in the first group of importa- tions are Norman Kerry and Blanche Sweet, who made special trips to Europe to appear as guest actors in one picture each. It is understood that Gilda Gray is new in London making a picture and that Pauline Frederick and Blanche Sweet. have recently completed pictures in France and Scotland which are to be brought here at a later date. In the first series of pictures to be released this months are “Moulin Rouge” and “Pawns of Passion,” both starring Olga Chekova, well known Eu- ropean actress; “A Woman in the Night,” starring Maria Corda, produced in Scotland from the novel by Baroness Orczy; “The Bondman,” with Norman Kerry, filmed in Sicily and on the Isle of Man, from the Hall Caine novel; “Tommy Atkins,” with Walter Byron, produced in London and the Egyptian Soudan with the co-operation of the British war office; “The Woman in ‘White,” starring Blanche Sweet, made in Scotland, from the Wilkie Collins mystery novel: “A Honeymoon Abroad,” starring Monty Banks and Gillian Deane, made in London and Paris. The seven pictures included in this first release cover geographically the countries of England, France, Russia, Poland, Egypt and Italy. Directors making the films went with their prine cipals to the actual locations called for by the stories, engaged natives in the district, and filmed the scenes in their true atmosphere. Literary Background “SATU'RDAY'B CHILDREN,"” Corinne Grifith's picture for First Na- tional, is now being titled and edited at the Burbank studios. Tt is interesting to note that Gregory La Cava, who directed; Forrest Halsey, who adapted the story from Maxwell Anderson's celebrated play; Grant Withers, who plays opposite Miss Grif- fith; Charles Lane, who plays her father, and Anne Schaeffer, who por- trays Miss Griffith’s mother, all earned their living in some branch of writing before entering screen work. Gregory La Cava, who was for many years associated with newspapers, wrote and drew a daily comic strip, which was widely syndicated. In later years he pioneered in the animated cinema cartoon fleld, writing, drawing and directing many original one and two reelers. Forrest Hasley, responsible for both the screen adaptation and continpity of “Saturday’s Children,” like La Cava, began his career as an artist and drift- ed into the writing game. Grant Withers, the young Coloradoan, who plays the role of Tims O'Neill op- posite Miss Griffith as Bobby Halvey, drifted naturally into the newspaper game, because his grandfather was the FOR THIRD AND POSITIVELY LAST WEEK THE MOST TENSELY GRIPPI) "ALK] EVER PRDDUC"%. % el Warner Bros. 100% AllTalking Pictare “ON TRIAL” WITH A CAST NO LESS REMA THAN THE STGRY 1T0ELF APLE PAULINE FREDERICK BERTLYTELL LOIS WILSON HOLMES HERBERT 4 Terrific FRED KELSEY RICHARD TUCKER AND OTHERS Drama of Human Daring and Conflict, Based on the novel, “The Candle in the Wind,” by Mary Imlay Taylor. “CONQUEST” A Whirlwind Adventure Drama_Depictin, to the South Pole in a Giant Plane an Two Flights the Momen- tous Changes They Wrought in the Lives of Two Men and a Girl. With a Great “Talkie” Cast Led by MONTE BLUE LOIS WILSON A DD E Do A NEW VITAPHONE SUBJECT IRENE FRANKLIN COMEDY AND NEWS ‘TODAY and W- AVENUE GRAND £ ¥ TODAY and TOMORROW-—CORIN! GRIP n = CAS SE‘I}ISTI‘ CHORUS GIRL COM- “CENTRAL » % o TODAY and TOMORROW—DOLOR! DEL RIO in "“REVENGE" gg\l}xsna CHORUS GIRL COM- EMPIRE 911 B St. N.E. TRAE 4, JSURNERY R 1230 © Bt. NE. TODAY and TOMORROW--NORMA ALMAD in “WOMAN DIS- NEW 835 8th St. S.E. TODAY and TOMORROW. —‘DO_\‘II B wADORATION. SAVOQY tb & col T%[')fig AHILLL DAMITA in “FOR- CHEVY CHASE sieiiiidysew'e. TQDAY and = TOMORROW — ALL- STAR CAST in “UNCLE TOMS COLONY Ga. Ave. & Farragut 8t COMEDY. TIVOLI %> & Fark ®a N.w. 'l"O!)A¥‘l and mMgRRvimn‘ :d‘ltor and owner of the Pueblo Chief- ain. Charles Lane, who has had a long stage and screen career, Tose from & journalist on the St. Paul Pioneer Press and Minneapolis Tribune to city editor and afterward owned and pub- lished a newspaper in South Dakota. Anne Schaeffer, who taught Corinne Grifith how to make up when the la ter first joined the old Vitagraph Co., once wrote scenarios, PR e Paramount Sound News is scheduled to make its appearance in February and the M G M Movletone News March 1. Paramount's (silent) News will con= tinue as usual with two issues a week. EVELYN BRENT WILLIAM POWELL CLIVE BROOK. HEAR THEM TALK! cents soft with love! vibrant with emotion! See these peaple live am the screem in the GREATEST TALKING MOV- ING PICTURE ever filmed! Thrill to the excitement of its gripping dremal In ac- In tones Another great_achieve~ The qual- ing motion picture! The great triumph of the screen! ADDED ATTRACTIONS EDDIE "GANTOR edian, stug s farorite . With st Zieaerd headtimers RUTH ETTING Ziegfeld beauty and Columbin recording star, jazzing over popu- dar song hits as only she can. FOX MOVIETONE NEWS M-G-M NEWS