Evening Star Newspaper, January 21, 1929, Page 22

THE EVENING STAR, WASHINGTON, D. C. MONDAY, JANUARY of, 1929, Real Estate Loans (D. C. Property Only) 6% No Commission Charged You can take 12 years to pay off your loan without the expense of remewing. $1,000 for $10 per month including interest and prin- cipal. Larger or smaller loans at proportionate rates. PERPETUAL BUILDING ASSOCIATICON Established 1881 Largest in Washington Assets Over $18,000,000 Cor. 11th and E N.W. JAMES BERRY, President JOSHUA W. CARR. Secretary sults, Contains 14 ingre- dients—at all Druggistssoe 0. Ointment ENTERPRISE SERIAL BUILDING ASSOCIATION 7th St. & La. Ave. N.W. 61st Issue of Stock Now Open for Subscription Money Loaned to Members on Easy Monthly Payments James E. Connelly James F. Shea President Secretary You will never fully enjoy grape- Sait unless amred with. | Lends tonic value to food Dandruff Goes When ' Odorless Zemo is Used | | If you have dandruff, apply cool- | | ing, soothing Zemo to the scalp. This | '|/-amazing antiseptic liquid, which is invisible and odorless; will quickly | cleanse the head. It also brings relief | tching skin, pimples and Ec-| | zema. It clears the skin, as nothing | | else can. Get a bottle of Zemo to- | | day. Keep it always on hand. All | druggists, 35c, 60c and $1.00—Ad- | vertisement. | Nozol Chec “Filu” Everywhere Miltions Breaking Head Colds and Warding oft “Fiu” Attacks with 997, of Cold Germs First Lodgein the Nose NOZOL gives 3 way Complete Pro- tection. d—Nozol releases vapors that breathe your cold away. #—Nozol clings to the mem- brancof the nose and throat and germs cannot lodge. 8—Nozol washes away mucus and keeps the passages clear. Onlyaliquidcan doall three. Firstap- plication of Nozol brings prompt relicf. “Flu” and grippe germs cannot take hold in membranes that are well lubri- cated. ... such is the advice being given out by leading health authorities. Nozol costs but little and you should get a bottle today at your druggist. Talke no chances, particularly with the present prevalence of flu. Drink Wat-e;iréely ‘ If Kidneys Bother | Also Take Salts if Back Hurts| or Bladder Troubles You Flush your kidneys by drinking a quart of water each day, also take salts occasionally, says a noted au- thority, who tells us that too much rich food forms acids which almost paralyze the kidneys in their efforts to expel it from the blood. They be- come sluggish and weaken; then you may suffer with a dull misery in the kidney region, sharp pains in the back or sick headache, dizziness, your stomach sours, tongue is coated, and when the weather is bad you have rhcumatic twinges. The urine gets cloudy, full of sediment, the channels often get sore and irritated, obliging you to seck relief two or three times during the night. To help neu'ralize these irritating aeids; to help cleanse the kidneys and flush off the body’s urinous waste, get four ounces of Jad Salts from any pharmacy here. Take a tablespoonful in a glass of water be- | fore breakfast for a few days, and your kidneys may then act fine. This famous salts is made from the acid of grapes and lemon juice, combined with lithia, and has been used for| vears to help flush and stimulate sluggish kidneys; also to neutralize the acids in the system so they no longer irritate, thus often relieving bladder weakness. Jad Salts is inexpensive; cannot injure and makes a delightful effer- vescent lithia-water drink.—Adver- tisement, BELASCO—“Honeymoon Lane.” Eddie Dowling’s perennial musical show, “Honeymoon Lane,” is the pres- ~ | entation at the Belasco this week, with | Kate Smith, who appeared in the orig- { inal cast on Broadway two years ago, playing her original part. The Savoy- i?\nsy. the Stock company at the Belasco, have undertaken a pretentious piece of | work in “Honeymoon Lane,” but they put it across with most of the pep, punch and vigor of the original pro- | duction. Good music, albeit somewhat out of date; snappy lines and clever comedy | carry the action of the play along to | the "usual happy climax finding the { happy young couple on the road to the | little white house at the end of honey- | moon lane. | . “Honeymoon Lane” demands more | than a bit of good character work, and |it is plain that particular pains have been taken by the casting director to choose suitable people. There is no dis- | cordant note in_the presentation, ug- e [ though the dialogue might well bl | shortened, particularly in the second | lact. The comedy is fast and full of | action and the songs are the same good | music that kept the original production | {in New York for a year. | Last weck Miss Smith was in black- {face. This week she take a part in | which she revels. “Honeymoon Lane” | gives her ample scope for the specialty numbers she puts across so well, and she delights in appearing as herself, the low-voiced princess of jazz. Her pep and personality contribute no small bit to the success of the show. | Thelma Parker, the Margery Daw of the “Gingerbread Man,” does a well thought out and apparently spontane- ous bit as Mary Brown, the pickle fac- tory employe and harassed sweetheart with stage ambitions. She, and Robert Capron as the irrepressible Tim Mur- phy, are well cast and go through their lines as if they had played the parts | for six months. Several specialty dances are well done, particularly that by Mary Dearie. .Lee Daley, as the slangy “wise- cracker” Matty Pathe, is particularly happily cast. Frank Gallagher cohtrib- utes a convincing piece of work as the son of the pickle magnate. STRAND—“Stolen Sweets.” _Harry Levine romps and makes fun with the comedians and Edith Palmer gracefully and attractively leads the feminine singers and dancers in “Stolen Sweets,” the burlesque attraction of the Mutual Circuit, at the Strand Theater this week.” The show is good regula- tion burlesque, with here and there a novel twist and turn or a bit of hilarity that makes it “different.” Thelma Lewis and Bea Moore specialize in the jazz contributions of song and dance, while William Johnson and Artie Lewis help in building up the comedy in its various phases. A sort of “extra, added attraction™ is the East Indian dancer, La Jada, who lends the spice of sensation to the at- traction in dance creations of her own peculiar type, and is most generous with her encores. “Chinese Jazz,” “Cotton- land” and “Appleblossom Time” are the outstanding musical hits, and the girls of the chorus are not the least of the show's alluring charms. JUNIOR THEATER—“Kings in . Nomania.” With two charming plays for chil- dren, “Kings in Nomania,” featuring the program, and “The Vanishing Princess,” as a curtain raiser, the Junior Theater of Washington con- cluded its first repertory Saturday eve- ning at the Wardman Park playhouse. ‘The company will reopen January 29 with a Spring repertory to include old masters of the stage, such as Shakespeare’s “Twelfth Night,” plays by Barrie, Milne and one of Shakes- peare’s cotemporaries, as well as “Little ‘Women,” always popular with the younger generation, “Kings in Nomania,” Percival Wilde's new play, is a Graustarkian fancy which proved as delightful to the parents as to the children themselves. Shirley Horton gave a finished per- formance as Yancu, the bootblack, who was a king of sorts himself. Gordon Kilbourne was a gracious young monarch, while Maxwell Davis fitted nicely into the part of the handsome and pompous gendarme. The support- ing cast was well trained and included &nlx& budding theatrical talent- of first e An interesting study in contrasting characters was offered in the little cur- tain raiser, “The Vanishing Princess,” from the pen of John Golden. Gordon Kilbourne played the “princess,” Mason Hardy was king of her heart, Kay Conway- handled the role of Matinka with ease, while George Finger did some noteworthy work as Mr. I-Say, a grasping landlord. Altogether, the Junior Theater move- ment is one to be encouraged in Wash- ington, bringing with it the opportunity for the children of today to enjoy the pleasure of clean comedy and the chojce favorites of yesterday, presented in a manner that cannot fail to educate as well as delight. In addition, if the Ogle, Tinnin, Brown Co. continues to thrive, the producers will bring before their public master artists of the foot- | self, who is expected to appear within | COLUMBI,A—-‘,‘WIII‘!." When the news feel flashied Président Coolidge signing the peace pact, the picture was greeted with sincere ‘and fervent applause by an augience that was considerably sobered by the power- ful propoganda against war so hrillingly and so grippingly displayed in “Wings.” For this photoplay sqars above_the mere story of a few individuals whose lives were caught in the storm of war, They are, rather, the pawns in a grim sermon against the real horror of war; the experiences of the individuals typify the millions who heard the war god xjml:gh and were the victims of his grim oke. “Wings” is truly an epic, an epic of the most terrible catastrophe in all history, done with heavy strokes of realism, unrestrained perhaps in its | truth, but nevertheless great in its un- | forgettable lesson. Dealing with the phase of combat that was most thril- ling in the last war, the picture reaches a peak in the air battles, so moving, so un-acted as to give the excitement of actual happenings. There is a gal- lantry ahout the whole affair, and tense fascination. The encounters are furi- ous ones. No effort is spared to make them absolutely convincing, and an; effective synchronization makes the: realism complete. As for the story—it is a simple, un- affected one in which the primary human emotions are thrown against the canvas of a4 world in turmoil. Four young people are swept into the chaos, three directly, the other in an indirect way suffering most of all. One is a victim to the service and the ather] three emerge completely changed in-} dividuals, the effects of the war in- delibly written on their characters and outlook. But the story itself must give way to the sermon, the narrative to the | epic, and it is in the scenes of war' that the picture reaches supreme | heights. The players all act with more in- tensity and power than we have come to expect them capable of, Clara Bow and “Buddy” Rogers sharing honors in roles that are a little of their regu- lar routine. Richard Arlen plays with a foreboding seriousness, and as the ill-fated hero, his work is moving. There is a bit of comedy injected here | and there that reflects war-time hys- | teria and is pathetic rather than funny. “Wings” is worthy of the panegy- rics that have greeted it everywhere. Its two-year run in New York and its two-dollar prices elsewhere are easily ‘explained. But here for the first time at popular prices, it is a picture which should not be missed. It is a living doeument of mankind'’s greatest tragedy, a document which deserves to lights, including ‘E: H.- S8othern hims |- the next few weeks in.dramatic recital. | . OPENING ATTRACTIONS IN WASHINGTON THEATERS PALACE—“The Sins of the Fathers.” Emil Jannings is not at all likely to lose any of his present popularity through his work in “The Sins of the Fathers,” which is playing this week at the Palace. His role of Wilhelm Soen- gler, German waiter, a mustached, jocu- lar and affectionate paterfamilias in his home, is very much what has come to be regarded as his own particulor genre, in his American films at least. 1t is suggestive of several of his previous characterizations, notably that in “The Way of All Flesh.” There is. too, what might be called the characteristic Jannings story, usu- ally strongly moral in pointing out the evils of immorality (though very sel- dom didactic in the sense of trying to teach a lesson), and illustrating the ups and down that come with pros- perity, temptation, weakness and final retribution. “Life is a wheel; we go around it and arrive at the beginning” —that 1s_the philosophy with which Wilhelm Spengler fades from our sight. The trip around the wheel is the story of “The Sins of the Fathers.” Speng- er, the jocose, naive waiter, becomes the proprietor of his own little restau- rant and bar, marries a wicked womin after the death of his slavey first wife, turns bootlegger with prohibition, blinds his adored son with his poison ligucr, explates his sin legally by a term in the penitentiary and starts the slow climb back to happiness—again as a waiter. Jannings acts with every resource he possesses. The result—and therein lies the proof if his real skill—is not a tem- pestuous and exaggerated mimicry of the character he is playing, but a calm ard exact translation of his own conception of the role mto the demands of dra- matic action. In walking, sitting, drink- ing, smiling, loving he is implicitly faithful to a harmonious interpreta- tion. The transition from the white apron of a waiter to the loud checks of a prosperous bootlegger is marked by absolute continuity. There is a super- ficial change in habits to meet a change in environment, but the walk remains the same, the awkward grace of the whole characterization carrics over, and Wilhelm Spengler is fundamentally al- ways himself. Ruth Chatterton of the legitimate ]suxe, makes her screen debut in the harsh, repellant part of Eva, second wife of Spengler, the sinister origin of all his woes. Barry Norton plays the ‘blinded son. Others in the cast include Zasu Pitts, Jean Arthur and Jack Luden. Sunday’s audiences received “The Sins | of the Fathers” with marked satisfac- tion. The stage portion of the Palace’s pro- | gram, under the benevolent mantle of Wesley Eddy and his syncopators, is called “Cheerio,” and is devised and staged by Paul Oscard. It has moments of exceptional color and liveliness. The featured performers include Wally Jack- son, loose-jointed eccentric dancer: Helen McFarland, whi sings dances and plays the xylophone (the latter two ac- | complishments at the same time); | Grace and Marie Eline, punning come- | diennes; Dorothy Nevin, a high-pitched soprano, and the ‘Gamby-Hale Girls, who do novelty dance routines. An orchestra selection, organ solo, thematic prologue to the picture, and news reels supplement the other attractions. FOX—“The Red Dance.” The entertainment at the Fox Theater this week includes a film story of pre- war Russia suffering the travail of the birth of freedom, an educational reel concerning the telephone, a Big Boy comic and a Spanish stage producticn. The principal characters in the “Red Dance,” played by Dolores del Rio and Charles Farrell, reveal the familiar and fiction. Each is being forced into loveless marriage. Grand Duke Eugene 1s ordered to marry Princess Varvara of Oremburg for politicial reasons, while Tasia, whose father, Gregori Ivanoff, was imprisoned for educating and up- lifting the peasants, and whose mother was shot by Cossacks while teaching school, is sadly abused by her foster parents and ordered to marry Ivan Petroff, a rough cayousing soldier, who offers & horse in exchange for the girl, but, becoming drunk on vodka, recon- siders the offer. On his way to Orem- burg the duke encounters the peasant girl and they feel drawn to one an- other and hope to meet again. Later she becomes a dancer at the Moscow theater and joins the revolutionists, who vow vengeance for the oppression and injustice to the peasants, and the torch_of freedom becomes a firebrand to kill and destroy. In pursuance-of her zealous duty she enters the palace and finds Eugene to be her intended vic- tim, but contrives to save him, for she prince and peasant plot of fairy tale | knows that he understands and sym- pathizes and would aid the people if he was allowed to. She hears that he is captured and ordered shot by a firing squad, and, being summened to the Tasno Barracks, she finds that Eugene {owes his life to her former suitor, who | has risen to the rank of general in the Red army, and the closeup shows an | airplane elopement sailing away in the | blue of the ether. ‘The master of ceremonies, Lawrence Downey, announces “A Night in Gra- nada,” with the opening number, “The Trepak,” played by the orchestra, con- ducted by Brusiloff, blending into a clear coloratura rendition by Stella How- |ard, who appears in artistic setting as the curtains are drawn. Then a Span- |ish patio dance with the Fox Senoritas in colorful costumes, changing to rain- bow hues when Downey sings, “If You Want the Rainbow You Must Have the Rain.” Dolores Cordova, dancer of the | Royal Spanish Court, does an entranc- ing gypsy dance; White and Manning tumble about in burlesque adagio, and the “Visiting Firemen From Alexan- dria” bring down the house with their versatile exhibition. . The Fox News shows President Cool- idge signing the anti-wag peace pact in the presence of Kellogg, Mellon and others; George Becker of Ogden, Utah, showing perfect aim in shooting; bob- sledding at Ormund Beach, Fla.; snow sports in the Alps, hockey players from Harvard and Dartmouth competing on the icy battleground, and a radio mes- sage in Morse code from Comdr. Byrd, somewhere in the Southern Hemisphere. EARL—‘“Submarine.” Jack Holt's latest effort, “Subma- those widely-heralded New York open- ings several months ago, comes to us with a “thriller” label, and turns out to be essentially just that. What, with a large, healthy, life-loving crew entomb- ed on the floor of the sea, and with the hero the only man in the world who could possibly save them, but who reso- lutely refuses until the eleventh hour, how could it fail to reach the most shosk-proof of us. Of course, Mr. Holt is the man of the day, in the role of Jack Dorgan, the diver extraordinary, which he handles capably enough, even if he does rely too much on tobacco chewing in getting his masculinity across. Ralph Graves, who has been absent from the bigger pictures longer than his talents rine,” which incidentally rated one of | deserve, and Dorothy Revier, in feat- ured support, strengthen the picture considerably with thoughtful interpre- tations, respectively, as the pal and wife of the said Mr. Dorgan. Arthur Rankin boy,” while Clarence Burton’s contribu- tion as the submarine commander stands on its own feet. ‘This picture is worth seeing, however, not from: the standpoint of acting but jof the climax, and the dramatic cir- | cumstances accompanying it. in which consistently good _photography be- comes excellent. The film, in its en- tirety, is synchronized with orchestral score, noise and voices (no dialague, however), via the Victor system. Much better than average subsidiaries are offered. Jane Green returns with | her pleasing voice and personality in a | vitaphone short; and a synchronized cartoon, “Plane Crazy,” that is funny, balance the bill nicely. ‘The Earle Tropical Revue, featuring the signing of the history-making peace pact by President Coolidge and Secre- tary of State Kellogg, is in its accus- tomed place, but not the really fine musical aggregation of Daniel Breeskin, which we presume bowed out to the un- usual length of the feature picture, but which, just the same, we missed. METROPOLITAN—“Abie’s Irish Rose.” Apparently, the public is not tired of “Abie’s Irish Rose,” even though the author has expressed herself in no uncertain terms as being bored with her masterpiece of the stage which has now taken its place on the screen. | It is featured this week at the Metro- politan Theater. The house was pack- ed to the doors at every showing yes- terday. 2 Owing to the unusual length of the film, all auxiliary features, including the customary news reels, are omitted, Comedy, pathos, human interest and romance are so generously interwoven in Anne Nichol's play that the omis- | sion of other features passes unnoticed. | 1t is not necessary to add anything to | “Abie’s Irish Rose” to “round out” the | program. | To tell the story, familiar to all, is quite unnecessary. On the screen, of | course, there is greater latitude for plot development than on the stage, | and one is carried back to the begin- | ning of things, so to speak, in the introductory scenes which show old Solomon Levy and his wife, Rebecca, arriving in America §nd establishing their little home before young Abie inserts an excellent bit as mother's | was born. Brief glimpses of the youngster’s life follow, and a flash showing his service days in France, where he met and fell in love with Rosemary Murphy. And then the fun begins. From this point on, it is the stage success re- produced. As the major part of the Paramount production is soundless, of course, something is lost of the spar- (Continued on Twenty-fourth Page) “Mother! Don’t make others innocent victims of your cold germs! At the same time, think of your own health. No one can tell what a “small” cold will develop into. Take steps to stop any cold immedi- ately. The dependable thingis HILL'S CASCARA- QUININE. These famous tablets break up a cold in one day because they do the fonr necessary things in one: (1) Stop the col?, (%) Check the fever, (3) Open the bowels, (4) ~"n the system. That's the complete action a cold N *res, HILL’S STOPS COLDS IN A DAY CASCARA-QUININE - Why Should I Come To Your Store Tomorrow? The reasons are many, Madam . . . and the most important is . . . - The Hecht Co. Half’ Yo car Furniture 2/ Homefu An interesting suite . . . for it’s quite different from any that you've seen. 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