Evening Star Newspaper, February 3, 1929, Page 56

‘AMU SEMENTS.” TAR, WASHINGTON. D. C, FEBR The Moving Picture cAlbum By Robert E. Sherwood. HE history of the cinemato- graphic art has been enlivened by many odd and surprising occurrences, most of which have been traceable to that form of extravagant boneheadedness for which Hollywood is deservedly famous. Consider, for example, the strange story of “The Green Hat.” Written first as a novel and then as & play by Michael Arlen (the gifted Armenian, who arose, as they say, from rugs to riches), “The Green Hat" was both a best-seller and a smash- hit. Its eventual adaptation into the movies ap) ed to be a foregone con- clusion. But the Will H. Hays office discovered that the Arlen masterpiece had attracted unto itself a somewhat unsavory reputation, and orders were issued that it was to be barred from the screen. Three years having passed, and “The Green Hat” and its author having been practically forgotten, the Metro- Goldwyn-Mayer people decided that it would” be safe to record this hot story on inflammable celluloid. It has now been given to the public under the title “A Woman_ of Affairs” and, as every one who has lately been near any of the theaters at which it has played will testify, it is still a best seller and a smash-hit. Although its title has been changed, although all its characters have been renamed, although the color of its heroine's headgear is never revealed, it is unquestionably the most faithful adaptation of a book or play that I have ever secen in the movies. It is word for word, line for line. point for point exactly as Michael Ar- len wrote it—with one important dif- ference: It is, in its present form, a great deal more enthralling, more in- telligent, than it has ever been before. EE The excellence of “A Woman of Af- fairs” is attributable largely to its cast —the glorious Greta Garbo achieves her best parformance as the lovely, loose lady of the tiger-tawny hair, and both John Gilbert and Douglas Fair- banks, jr., do splendidly in roles that, for them, are highly unusual. Never- theless, it seems to me that the most substantial share of the credit should be delivered to the director, Clarence Brown. Mr. Brown is worthy of observation. He is one of the most interesting char- acters in Hollywood, and one who is most likely to survive the present dev- astating upheaval. He has gained box- office prestige by directing “Flesh and the Devil” (in which the Garbo-Gil- berting began) and “The Trail of "98’ but he has in his time also produced- several pictures that were better, if less celebrated, than those. He is probably the only movie direc- tor who started out as an engineer. He earned degrees as bachelor of the sciences of mechanical engineering and electrical engineering, and he was pre- siding over his own automobile business when the siren call of the cinema lured him to the studio where romance is menufactured and canned. That was nearly 15 years ago. He worked as assistant to the artistic but impractical Maurice Tourneur; and his scientific precision, added to Tour- neur's marvelous appreciation of pic- torial beauty, was productive of many memorable films. { _“The Last of the Mohicans” was Brown's first single-handed effort (he was given his chance when Tourneur was serfously m}ured in a fall from the directorial platform). Since then he has been developing his knowledge and his ability in the unspectacular but methodical manner that appears to be typical of engineers. (Witness the rise of Herbert Hoover.) Some of Clarence Brown's quietly meritorious productions are “The Sig- nal Tower,” “The Acquittal” “The Goose Woman"” and “Smouldering Fires" (all made at Universal City). Each of them revealed an admiraoie degree of mathematical exactness and a still more | admirable understanding or humanity. Brown realized that for a character to be “sympathetic” it must first be real. In all of his pictures, with the excep- tion of “The Trail of '88,” the charac- ters have been of predominant impor- tance; he has derived dramatic interest from the simple activities of credible people, rather than from complications of plot or overwhelming scenic effects. In “The Trail of '98” he attempted to produce a stupendous super-feature, at tremendous cost. He went agains his own grain, with the result that in this ambitious epic the leading char- acters were as phoney as the double- exposure snow-slides; only the humble “extras,” in whom Brown was really interested, were convincingly real. He has two other important pictures to his credit: “The Eagle,” which was Rudolph Valentino’s swan song, “and “Kiki,” in which Norma Talmadge | proved that Lenore Ulric is an extraor- dinary actress. * ok ok ok Clarence Brown's next picture will be well worth watching. It is to be called “Th: Wonder of Women,” and is adapt- ed from “Stephen Tremholtz's Wife,” by Herman Sudermann (of all people). It will be Brown's first venture into the strange new fleld of the talkies. He is entering this field with a point of view that is as commendable as it is unique. Because he was neither a ham actor nor a stock company property man before he discovered the movies, he 8 pot oppressed by notions that he has derived distantly, of the so-called “speaking stage.” He does not believe that a talking picture must necessarily be more than a cheap imitation of a stage play. He believes that the best silent pic- ture was one in which the smallest possible number of words were printed, and that the best talking picture will be one in which the smallest possible number of words are spoken. Furthermore, his experience as an electrical engineer will stand him in good stead in the sound-proof studios. He won't have to take any back talk from the numerous technicians who have lately brought their charts, their {nphs. their blue-prints and their heories into the formerly unscientific movie business. (Copyright, 1929.) Early Movie Music. T is rather amusing in this day of expensive sychronized photoplays with accompaniments played by sym- phonic orchestras to recall that only 50 comparatively short a while back as 27 years ago, the crudest of short reel pictures were shown in the Na- tional Capital and that there were no “neighborhood theaters” or palatial down-town motion picture houses in Wwhich one could spend the hours from afternoon till late evening seeing and hearing a varied program “of colorful entertainment. A day or so back a woman who has the distinction of having played the piano accompaniment for those motion pictures came to The Star office to tell about the time when she “arranged” the piano accompaniment for the first picture. It was shown, she said, in the Hall of the Ancients, an unusual build- ing, formerly standing on New ‘York avenue near Thirteenth street. In 1902 Katherine Lane (Mrs. Kath- erine L. Hungerford) left Monticello, Ga., to follow the call of adventure and came to Washington as secretary to the late Dr. John Elfreeth Watkins, super- intendent of the National Museum. Soon after her arrival she made her first visit to the Hall of the Ancient, and later she grew to know the proprietor, Frank- lin Smith, “a refined and highly edu- cated old gentleman, who had traveled abroad extensively.” Mr. Smith made of the old “Hall” a centrally located amusement place for the Washington public, which at that time had no “movie shows.” It was a museumlike place, with rooms built and decorated after the fashion of ancient days—one a Roman room, another a Pompeiian Toom, etc., each with real relics and beautiful authentic furnishings of the periods. Thomas Armatt, who is still living in Washington, was manager for the first motion pictures here, showing them in Mr. Smith’s “Hall.” And it was through a friend, who was Mr. Smith's secretary, that Katherine Lane was given the position of official first ac- companist to illustrate the earliest pic- tures shown. At that time Katherine Lane played principally by ear, but she soon began plano lessons with Mr. Comstock, then organist and choir director of Trinity Chx_lxx:rclh. on slx;.h ‘s.t;:edc rnorg‘\:mt. “The things I p! or accom- paniment of these earliest motion pic- tures here were popular airs of the period, such as “Bedelia” and “Every Morn I Bring Thee Violets.” I knew quite a number of old-fashioned tunes that my mother used to sing and play, and I was constantly picking up new ones at the theaters, from the Ma- rine Band, and even from the street planos, which were numerous at that time. I had no musical score at all and simply played what I thought suit- able while watching the picture. The piano, an old square relic, had molted some of its ivories, leaving a little glue behind. If my fingers became ‘per- spiry” (as the darkies say), some of the notes were at times held longer than expression required. “I cannot remember the title of the first picture that was produced here— the first in Washington. One of the earliest, however, which made quite an impression, was “The Coronation of King Edward.” As I looked at his handsome figure and played my most impressive music I thought of the time he visited Washington as the Prince of ‘Wales and was entertained at the White House by the bachelor President, Buchanan, and his niece, Harriet Lane (a relative of mine), who presided for her uncle. Later she left a fine collec- tion of paintings to the National Mu- seum, and a wax figure of her is among the interesting group of ‘Ladies of the White House’ The story is told that h: in| d_vivacious Miss Lane DANCING. Hh PHOF._ AND MRS. L. A. ACHER STUI 1127 10th st. n.w. Classes Mon., Prl.. 8 u P.m. with orchestra. Private Iéssons by ap: tm 8567. hed 1900. _4* d DIO gt 4. placed. _811_13th_st. n.w. DAVISON'S™ fox, s, Hop Brg L ey few lessons, private, s t. N.W. hour. Class Sat. Evng Natienal 8341 ° instruction at 8. Dancing. op C1888 Tues. Eve.in ‘Ballroom Pu!n.lll New Dance: ERNIKOFF-GARDINER SCHOOL OF DANCING Graded Classes for Babies and Children. Advanced and Elementary Evening Classes for Young Men and Women. ture Classe: 8 St 1708 8 N. 8 pl W. ___Cat e N. 83 CATHERINE BALLE Stage and Ballroom, Rhythm Limbering, ise. Syncopation. Hop. ClI Da: ass Tuesday Orcbestra. 1341 Conn. Ave. N. 7213, Agember of Dancing Masters of America. Physieal Cul- | played a game of bowling with the Prince of Wales and beat him. “But to return to the early pictures. There were many short comedies, among them a kissing scene, in which May Irwin and John Rice took part. This had to be taken off the screen, because Mr. Smith considered it shocking and indelicate. What would he say could he see’ some of the broad comedies of the present day? Katherine Lane's quest of adventure, however, did not stop with the securing of a Government position and the play- ing of the musical accompaniments for the earliest motion pictures in Washing- ton. Twelve years later she left the Government work, following her mar- riage, and considerably prior to that time she gave up motion picture accom- paniments, due to other interests that required her time, and also, she says, “because my repertoire was wearing thin in spots.” Even so0, Katherine Lane Hungerford's interest in the motion pictures did not cease. In May, 1922, she went to Holly- wood, where she spent an entire year meeting the motion picture people, watching them work and writing about them. Here she earned a title for her- self, becoming known as “The Lady of the Gold Grapes” because of an old- fashioned pin she wore constantly, which she still . Since her re- turn to Washington, where she now makes her home, she has frequently lectured for charity on her experiences while in Hollywood, and always has fresh anecdotes to tell about the “movie folk,” with some of whom she still keeps in contact. Among those whom_ she met were Douglas _ Fairbanks, Mary Pickford, Charlie Chaplin, Gloria Swanson, Jackle Coogan, Mrs. Wallace Reid, Bill Hart, jr.; Baby Peggy, Eugene O'Brien, Wal- lace and Noah Beery, the members of “Our Gang,” the late Rudolph Valen- tino and Lon Chaney. Drama Guild. Tournament, 'HE third annual District of Colum- bia one-act play tournament, under the auspices of the Community Drama Guild, will take place on the evening of Wednesday, February 27, at McKin- ley Auditorium, Second and T streets northeast, with preliminaries beginning February 11 and running h two Preliminaries will be held at two centers in the city in advance. A col ttee of five persons will judge each of the plays, selecting the four outstanding offerings, to be finally judged and rated on February 27 by the dramatic critics of the Washington newspapers. ‘Twenty-eight local groups, represent- dramatic organizations, civic and women's clubs, churches, etc., have been entered in this year's tournament, and a complete schedule of rehearsals and performances is now being mmlmd by the officials of the Drama Guild. Subscribers and guarantors of the 1929 season of the Community Drama Guild hold coupons for the entire series of the plays lul;: t;.ne mhuinn-m‘em. Th‘e:e‘ coupons are to be exchanged, beginn! this coming week, at the T. Arthur Smith Bureau, on G street, and at the A. A. A, in the Mills Bullding. Next Week's Photoplays FOX — “Blindfolded,” with Lois Moran and George O’Brien. PALACE—“The Shopworn Angel,” Nancy Carroll and Gary Cooper. COLUMBIA—Dolores Del Rio in “The Trail of ’98.” EARLE—“The Wolf of Wall Street,” with George Ban- croft and Baclanova. METROPOLITAN — Fanny Brice in “My Man.” FLORA McGILL KEEFER MEZZO-CONTRALTO, IN RECITAL FRANK LA FORGE Pianist and Accompanist of New Yoik ng HARRINGTON VAN HOESEN Barytone, of New York MAYFLOWER HOTEL IDAY. FEB. 15, 4:30 New Studio Jargon. SUCH idiomatic expressions as “shoot,” “kill” and “cut” have long had their day in the motion picture business, but that day is rapidly fading out with the advent of talking pictures. On the Hungarian set where the First National-Vitaphone feature, “The Squall,” is being filmed and synchro- nized, a new battery of studio jargon strikes the ear. An interview with Wil- liam McGann, the assistant, who has charge of the technicalities of sound and dialogue, discloses the following od- dities of language: “We've got it": signifying the cam- eras are ready for the recording. “Lock ’em up”: a command to lock up the sound-proof booths containing cameras and cameramen so that the sound of the cameras are not registered in the microphone. “Marked up”: meaning that cameras and recording devices are ready for the A. C. (auxiliary current). “The Mixer”: the gentleman who pre- sides over an elaborate instrument board controlling volume of voice and sound. “Turn 'em over”: the command to the recorder to complete synchronization of cameras and recording machines. “Give 'em the A. C.”; turn on the elec- trical juice that starts the entire process. “Cutting waxes”: preparation of the recording waxes. “Playback”: the device which repro- duces the sound or dialogue in’ order that the actors or director may get the result of their work. ‘These are the important colloquialisms t | that Alexander Korda, the director, must learn, as well as his leading play- ers, Myrna Loy, Alice Joyce, Loretta Young, Zasu Pitts, Richard Tucker and George Hackathorne. Nose News. NLY one characteristic of the suc- cessful motion picture star never varies from a straight line. That is her nose. The curve of the lip may be different. Many and varied are hues of the hair, and the eyes may be light or dark. The actresses may be long or short, fat or thin, but one feature never changes in popularity. The finely chiseled nose is always possessed by the successful film star. Lucile Webster Gleason's nose is a trifie too pronounced in real life for beauty, but in “reel” life it gives her that perfect profile so sought after. Virginia Valli, Evelyn Brent, Norma Shearer, Greta Garbo, Florence Vidor, |- Marion Davies, Billie Dove, Mary Dun- can, Margaret Livingston, Irene Rich, Corrine Griffith all possess lovely, slen- der_noses. Dorothy Dwan won her claim to beauty by having the perfect profile of pictures. Her nose is absolutely straight, and slender, such as artists rave about. Possible exceptions to this type nose are those of Vera Reynolds, Alice White, Nancy Carroll, Anita Stewart and Bebe Daniels. Theirs are not perfect, but their ability has car- ried them past the danger signal. All Straight Now. RUMORS of a rift between Joseph. M. Schenck, head of United Artists, and Max Reinhardt, Europe's foremost theatrical impresario, whom Schenck brought to America to produce and di- rect a motion picture, are vigorously denied by Reinhardt, who says there is nothing to the story that he will withdraw from the Schenck organiza- tion and grod\lce his first motion pice ture with his own money. “After nearly two years of negotia- tions I finally have come to Hollywood under contract to make a picture for Mr. Schenck,” explained Reinhardt. “A story was written last Summer, dis~ cussed with Mr. Schenck and Miss Gish, who is to star in the picture, at my home, Schloss Leopoldskron, Salzburg, Aus{rl:. been ‘in Hollywood ¥ ve Hol only a short time, but already a rumor has started that there has been a breach between Mr. Schenck and myself over the story. A theatrical paper published the repprt that I was to finance my own picture. The story is absolutely without foundation. The work of prep- aration for the actual filming of my picture for Mr. Schenck is proceeding without interruption and according the schedule determined upon in Salz- burg last Summer.” HER THRONE LEILA HYAMS, M-G-M featured player, and her favorite seat, made and presented by an ad- miring stage hand. Going Up, Please. BY COLLEEN MOORE. TO be perfectly frank, an elevator man should get the credit for giving me my first opportunity in pictures. I don't know his name, but I shud- der to think how narrowly I missed my big chance, which certainly would have passed me by, had it not been for him. I don't believe any girl has ever been more screen-struck than I was, even when I was still in pig-tails. I dreamed of the d: hen I would be a star, and with the superb confidence of child- hood, I never doubted that my ambition would be realized. I read everything I could find on pictures and picture people and was one of the best of thea- ter patrons. My family moved to Chicago when I was in my early 'teens. My uncle, ‘Walter Howie, was editor of a Chicago newspaper; and one day he suggested that I meet him at his office and he would take me out to luncheon, to which I readily agreed. Just as we entered the newspaper building upon our return, the elevator starter's casti- nets clicked to signal a loaded car to shoot upward. The elevator operator saw us approaching and, recognizing Uncle Walter, he hesitated long enough to let us crowd into his car. As the elevator started swiftly up- ward, I swayed against some one standing be- hind me. I turned and mumbled an apology to a tall, gaunt man with gray- ing hair. He smiled good-naturedly IN “BARCELONA” the Palace this week. SPE@LAL ANNOUNCEMENT lost my balance slightly and | 'O and then catching sight of Uncle Wal- ter, greeted him by name. The next moment I found myself being intro- duced to David Wark Griffith, the greatest director in motion pictures of that day. “Here's & star for you, D. W.” Uncle Walter said, jokingly. “She would rather be a movie actress than Queen of England.” Mr. Griffith looked at me with some interest, and when our floor was called, he followed us into Uncle Walter’s office, although he had an ap- pointment elsewhere. He talked to me a lot about picture work and then of- fered me an opportunity to make pic- tures for him in Hollywood on a six- month contract. “You have great eyes, and plenty of enthusiasm,” he remarked. “We might be able to teach you to act.” After a family conference that eve- ning, I was given permission to accept, and within a week was on my way to Hollywood with grandmother. On my way out of the newspaper building, I waited for three elevators to go by until I could ride with my life- saver. He was quite amazed when I gave him a dollar. Redskin Critics. discover what reaction the newer phase in motion pictures of techni- color and synchronized sound recording would have upon a more primitive people, reservation Indians were the guests recently at a private showing in a production in which they themselves had appeared. The showing took place in the pro- jection room of Paramount's Hollywood studio, and the picture was “Redskin,” starring Richard Dix. Curious to view the picture in which they had appeared, and even more curious to hear the “sound box” from which, they had been told, Indian melo- dles would be played in accompaniment, the Redmen comprised as unusual a group of critics as ever ventured to give a motion picture opinion. As scene after scene was enacted, as Zameenik’s music came forth from ‘the “sound box,” Paramount officials closely watched the stolid faces of their audi- ence, But theré was little to glfan from the inscrutable countenances, and Paramount could only wait—and won- der. The final fade-out was reached, the last strains of music lingered in the air, and then suddenly curious sounds be- gan to issue from the throats of the Redmen. What in the picture could have displeased them so markedly? One Indian was approached. “Do you like the picture?” he was asked. The “critic” gave a grunt, which might have meant anything, listening a moment to the continued murmurings of his fellow- men, and then burst forth excitedly: “Music—like music, me take back music box.” Light burst upon bewildered Paramount officials. The Indians were only attemnting to hum the melodies they had fust been hearing! Mazes Amaze. A LABYRINTH of mysterious rooms, passageways and staircases have kept Chester Conklin and Louise Fa- zenda veritable prisoners day after day on the Pirst National lot, where “The House of Horrors,” third of a series of mystery thrillers, is being filmed. Messengers to the set have at times returned without finding the comedy pair and Director Christensen and crew, so completely were they hidden in the maze of complicated sets. Chris- tensen, having discarded his gun as an alarm signal for the players, is not so easily located now, and he leads his cast and his technical assistants from one twisting passageway or weird room to another with disconcerting abandor. A great blue diamond, known to be hidden in the antique shop of a mis- erly collector, is the object that draws all the characters to one commor. hat- tleground amid as weird a collection of odds and ends and through as qu2er e house as can be pictured. B [\ SHUBERT ELASC RY 3, Another Gala Week Beginning 1929—PART 4 Sprucing Up Father. WKAT the well dressed man should wear will be displayed in Holly- wood by the father of Alberta Vaughn —that is, if Alberta has her way. Mr. Vaughn doesn't know it yet, but he is | destined to become the Jimmy Walker | of Hollywood, sartorially speaking. | Alberta has laid plans with that objec- | tive in view, and there seems little | doubt of success. The first thing that impressed Alberta when she arrived in New York recently to make talking sequences for | | “Molly and Me,” the Tiffany-Stahl pro- | duction starring Belle Bennett, was the tailored elegance of mankind on Man- | hattan. It was her first visit. Before starting back to the coast, Alberta went on an extensive shopping tour. She purchased socks, handker- chiefs, shirts and tles in color sym- | phonies becoming to Daddy Vaughn. Then she bought a malacco walking- stick, spats, yellow gloves and a derby hat. She picked up a scarf in a Fifth avenue haberdashery that exactly matched her father's eyes. An over- coat or two, and cuff-links for every occasion completed the outfit, Coming Attractions NATIONAL—“The High Road.” Washington theatergoers may derive pleasure from Charles Dillingham'’s an- nouncement that he will send Prederick Lonsdale’s new comedy hit “The High Road” to the Natlonal Theater for one week, starting Monday night, Febru- ary 11, This brilliant comedy comes direct | from its sensational run at the Fulton Theater, New York, where the run was | cut short at its height, because several important members of the cast holding previous contracts for an April appear- ance in new plays in London were compelled to leave sooner than expect- ed, and because of an agreement be- tween Mr. Dillingham and Mr. Erlanger that the original all-English cast of “The High Road” as presented for two_years, at the Shaftesbury Theater in London, would play in Washington, Boston and Philadelphia. The all-English cast as presented in New York and London includes Edna Best, Frederick Kerr, Herbert Marshall, Alfred Drayton, H. Reeves-Smith, Hilda | Spong, Winifred Harris, Lionel Pape, Nancy Ryan, John Willlams, MacKen- zie Ward and Edward Martyn. STRAND—“Flapper Follies.” ‘The Strand Theater next week will present “Flapper Follies,” under the direction of Joe Catalano, with a favor- ite Broadway entertainer, Mae Dix, assisted by a chorus of Broadway flap- pers. Follies” is Sharli, the Hindu dancer. BELASCO—“Good Morning, Dearie.” “Good Morning, Dearie,” another mu- sical comedy of distinctive charm, will be the attraction of Mr. Cook's Savoy Musicomedians at the Belasco Thea- ter next week, beginning Sunday eve. ning. The score of this delightful mu- sical comedy is by that wizard of lovely tunes, Jerome Kern, and the book and Iyrics by that veteran of many smart musical comedy hits, Anne Caldwell. “Good Morning, Dearie” was Dilling ham'’s greatest hit and ran for two sea- sons on Broadway. It was Louise Groody's first starring vehicle. Robert Capron, Renee Hamilton, Thelma Parker, Helen Ault, Frank Gal- lagher and the popular beauty chorus, all, it is promised, will be seen and heard in “Good Morning, Dearie.” Bt SR .A o A Talmadge “Talkie. ORMA TALMADGE will talk throughout her next film. The picture will be based on a Broadway stage play, as yet unselected. It will be a modern story, and the star’s voice | will be heard for the first time in a talking picture. The voice of Gilbert Roland, who will be leading man, also will be heard for the first time. Back in Hollywood after a short stay in New York, Miss Talmadge awaits telegraphic advice from the East before beginning rehearsals. The talking pic- ture version will be made before the silent version. Laura Hope Crewes, prominent stage actress, is in Holly- wood. She will rehearse Miss Tal- madge’s lines with the star. orma Talmadge thus joins the ranks of Mary Pickford, Gloria Swanson, Vilma Banky, Douglas Fairbanks, Ron- ald Colman, Harry Richman, Lupe Ve- lez, Walter Byron, Eleanor Griffith, Joan Bennett and Johnny Mack Brown, all of whom will be heard in United Artists’ talking pictures during 1929. “Things Talked About” Mrs. Wolfe Smith Mrs. Swalm Reed Every Monday Morning at 11:30 THE WILLARD HOTEL Course Ticket, $5.50 Single Admission, $1.00 PONSELLE Sop! Metropolitan Opera Poli's, Tuesday, Feb. 19, 4:30 ow on Mrs. Wilson-Greene's st. M. 6493. S, Droos's: 1350 G Bureau. REVELERS “Something New in Musi FEI 0 CONTRALTO .:ol:.l;:. 'l;)uEquv. FEB. 5—4 i oats Mrs. Greene's Bareau. Drooo's. THE GERMAN GRAND OPERA COMPANY “DIE WALKUERE,” “SIEGFRIED,” Tonight 11th BIG WEEK AND GOING STRONG! Charles Emerson Cook’s SAVOY MUSICAL COMEDY CO. t the Bolton-Wode! the Princess house-] ‘Theater, New York, with seng and dance hits. tanse, Hamilten, a3 Jackie Sempson Helen Ault, as Low Ellen) «debut), A k “"Rosa "Snowden, Giadrs . Kern Musical Successes as played for two us its sparkling wit and fawe: le Intropidi 5 Deery. ait (he Tavorites aad the GORGEOUS GARDEN OF GIRLS NIGHTS, $1.50 o Suonrs | SHOPPERS' MAT. WED. S0ag 75¢ A special added feature in “Flapper | ‘ARMUSEMENTS{™ Conrad’s Stories. ¢T'HE RESCUE,” a film version of the Joseph Conrad novel, with Ronald Colman in the character of “King Tom™ Lingard, has been completed by Her- bert Brennon. Lily Damita, French actress, imported by Producer Samuel Goldwyn from Europe, makes her Amer- ican screen debut in this production as Mrs. Edith Travers. Duke Kahana- moku, the swimming champlon, has been seen in “Lord Jim,” another film version of a Conrad novel. In “The Rescue” he appears as Jaffir. At least five Joseph Conrad novel have been filmed by American produ “The Rescue,” “Vic- tory, “Nostromo” and “Romance.” The first three came to the screen with their original titles. “Nostromo” was offered in films as “The Silver Treasure” and ‘“Romance” as “The Road to Romance.” It was in December of 1919, when Conrad still lived, that “Victory” was offered by Famous Players-Lasky. Jack Holt had the chief role, that of Aexl Heyst; Wallace Beery was Shomberg, Lon Chaney played Ricardo, Bull Mon- tana was Pedro and Seena Owen was Alma, the girl. Then, in 1925, came “Lord Jim" with Percy Marmont in the title role. joah Beery was the Capt. Brown of the story and Shirley Mason was the girl Jewel. Raymond Hatton acted the part of Cornelius. The following year brought “The Sil- ver Treasure,” as “Nostromo” was called, and George O'Brien had the principal role, Fox released this film; prominent in the cast were Lou Tellegen and Hed- da Hopper. Joan Renee was the young lady of the story. In October of 1927 Metro-Goldwyn- Mayer released “The Road to Romance,” a film version called “Romance” by its co-authors, Joseph Conrad and Ford Maddox Heuffer. Ramon Navarro was cast as Joser Armado and others were Marceline Day, Marc McDermott, Roy D'Arcy and Otto Matieson. Jules Cowles, who had portrayed the char- acter of Yankee Joe in “Lord Jim," contributed a second Conrad character- ization in this film, his role being that of Smoky Beard. Though it comes to the screen in 1929, and was published for the first time in 1919, “The Rescue” was begun by Joseph Conrad in 1898. At the end of the Summer of that year he has written in a preface, “I laid it aside and it was about the end of the Sum- mer of 1918 that I took it up again with the firm determination to see the end of it and helged by the sudden feeling that I might be equal to the task.” Conrad dropped “The Rescue" not “to give myself up to idleness, re- grets or dreaming, Nigger of the Narcissus.’” Conrad novels that preceded “The Rescue” to fllms were written during the 20 years that Conrad left the story of Tom Lingard and Edith Travers on the shelf. Conrad has explained his temporary abandonment of “The Rescue” and his reasons for laying it aside. “The first of them,” according to his preface, “was the growing sense of general diffi- culty in the handling of the subject. The contents and the course of the story I had clearly in my mind. But as to the way of presenting the facts and perhaps in a certain measure as WEEK BEG. SUN. EVE. Poli’s 75- Prices Send Self-Addressed NIGHTS: Orch., $3.85, a: SAT. MAT.: Orch., $2.30 MATINEES THURSDAY SATURDAY INEWMAN TRAVELTALKS Color Views Motion Pictures Romantic Rambles—Impressions of 192f st s be Cre! COMEDY by Frederick LONSDALE EDNA BEST, WINIFRED HARRIS, LIONEL reviou h only in Phil. On Mbnday February CALLED LOVE", Pebruary 9th. SAT. MAT. 50c to $1.00 will be booked, but to begin ‘Thr. to the nature of the facts themselves, I had many doubts.” It was sentiment, according to Con- rad’s own statement, that prompted him to complete “The Rescue” after a lapse of 20 yoars. “It scemed to me that it would be a base thing for me to slip out of the world leaving it out there all alone, waiting for its fate—that would never come,” Joseph Conrad wrote of “The Rescue” in 1920. As a matter of fact, when he died on August 3, 1924, it was “Suspense,” a story over which hovered the shadow of Napoléon, that was left incomplete and waiting for & fate that could never come. Obliging Nature. THE California desert is to be inspira- tion for some of the well dressed women of the world in the important matter of color for Spring and Sum- mer costumes, according to a fashion dispatch from_cellulold Hollywood. Couturjers have captured some of the gorgeous pastels of the yucca plant, the cacti, the adobe soil, the lupin, the red clay and the mesquite and have transformed them into exquisite fabrics of the mode, which ranges from thin chiffons to thick velours. Max Ree, First National's expert in feminine wearing apparel, sees in the American desert tones the possibilitics for almost revolutionizing the entiro color market. “Few women, indeed, cannot wear th> lovely new shades” said Ree. “It scems as though the yardage manu- facturers have delved far into the re- cesses of their brains to select the , most flattering of colors for the fash- fonable woman.” As Ree raved about the new tones he was busy assembling a smart Spring suit for Dorothy Mac- kaill, blending the new “cactus rose” with “adobe tan” and trimming the suit in “desert sundown,” a strange mellow rosy hue that crosses between the peach and apricot shades. Current Hisiory Lectures CLARA W. McQUOWN Every Friday, 11 AM. The Washington Club, 17th & K Admienina, f2e PHILADELPHIA ORCHESTRA Conductor Dr. Artur Rodzinski Feb. 12, 4:30— Whinston ditorium PROGRAM Brahms — Symphony No. 1, C Minor. Debussy—"La Kodaly—Suil TICKETS, $2.80, $2. T. Arthur ‘Smi 1330 6 FEB. 1 ONE YEAR IN NEW YORK—$ MONTHS IN CHICAGO GEORGE WHITE presents <t ED WYNN PERFECT FOOL) In the Season’s Biggest Musical Comedy Hit “MANHATTAN MARY” With @ Cast of Breadway Favorites GORGEOUS Envelope With Mail nd $3.00. Bal. and $2.00. ATIONAL — PRICES, $1.50, $1.00 AND 50c Box Office Open Coming direct from sensational breaking run at the Fulton Theater, New York, with the original All-English as presented for two years at the Sl bury Theater in London includin FREDERICK KERR, ALFRED DRAYTON, H. REEVES-SMITH, to return to London for spring productions. hia, Boston and Washington. In Homer L, MAT? SAT. ONLY Mail Orders Now. Reats Wednesday GIRLS au= LS -==75 $3.00, $2.30. $2.00, $1.50:81 Bal, $2.50, $2.00, $1.50, S, ARTHUR HAMMERSTEINS MUSICAL HIT COMPANY OF 100 = SYMPHONY ORCHESTRA MAIL ORDERS Now NIGHTS Boe_to $3 MATINEES Thar. 800 to §2 Sat., 50c to $2.30 TODAY at 3:30 GERMANY 1928 Not a cut and dried presenta- tion of the country as it was, but a living picture of the evolu- tion and progress made in a new Republic. OF THE REGULAR SEASON 'S THURS. Year CHARLES DILLINGHAM presents 2 HIGH ROAD” record- cast hafts- HERBERT MARSHALL, HILDA SPONG, PAPE, NANCY RYAN, JOHN WILLIAMS, MACKENZIE WARD, EDWARD MARTYN. NOTE—"The High Road" has been booked for. this city at Eopul‘rlly in New York so local theatergoers can see orig contracts make it necessary for several important helght of i cast. mbers This comedy ANNOUNCEMENT 18th the National Theatre Players will open their fifth annual season, presenting the Bijou Theatre, N. Y. success "THIS THING Patrons holding season reservations at the close of last Jear are requested to confirm their reservation not later than Saturdsy On Monday February 11th new requests for reservations