Evening Star Newspaper, February 4, 1929, Page 20

| ite and many recalled other days, as ! familiar melodies as “An Old Fashioned . Like — | Pranklyn, the Quaker aunt. Mr. Capron . ance of “Sally” last week, and was at ; old Germany of today, a Germany to- { this week by Mr. E. M. Newman in his | seulpture gallery uis i the magn! Ludwig II, who i ! H { L] H i I H H H H H . . ] 1 . ] . ' i H i . ' i 1 ' » 1 ’ ¥ ] 1] » SHUBERT-BELASCO—"Oh, Boy.” Charles Emerson Cook's Savoyans another week at the Belasco snap and dash. mm are always agreeable reminis- cences in the revival of a stage favor- they listened to the strains of such ‘Wife,” “Till the Clouds Roll By,” “You Never Knew About Me” and “Nesting many other musical comedies, Boy” is not burdened with an intricate plot, but relies for popular in- terest upon its rapid succession of songs, clever lines and dancing. ‘The comedy element in the Savoyans’ presentation is very sbly handled by Robert Capron, as Jim Marvin; Joseph Spree, as Contable Sims, and Beth has recovered from the cold which handis him during the perform- his best last night. Helen Ault is an appealing Lou Ellen and Prank Gallagher, who returns to the cast after a week's absence, is very gu‘e: at home in the role of George uad. ‘The Savoy chorus responded to sev- eral well deserved encores and a clever dance specialty was offered -by Jack Closson and Deery. Others who registered with the audience were the | o : Savoy Male Octet; Renee Hamilton, as | 22 \ Jackie Sampson, & role well suited to * her personalit; and talents; Edward Metcalfe, as Judge Carter, and Rosa Snowden, as Mrs. Carter. Vincent J. Colling’s orchestra gave a good account of itself and the settings were very attractive. NATIONAL—Newman Traveltalk. Germany, 1928. A photographic trip through the new- tally different yet vividly reminiscent of the pre-war days of monarchial rule as the gve sumptuous castles of a Ludwig pass before our visions, was afforded colorful traveltalk on “Ger- ,” given yesterday at the Na- Starting our journey in Munich, the Bavarian capital in southernmost Ger- many, we are carried by Mr. Newman through the amaszing exhibits of the Qerman industrial museum. into the and past some ex- quisite jeces of Munich art n the new and old Pinakotek, over Which one would like to linger but cannot, for the iysteties of the royal china factory of Nymphenburg beckon, and after this ificence of the castle homes of was not so mad as ke seem Many other ing northward, Americans, per] Obera; the least this part of the the cable car to Songs o e aerial view of Germany, Austria mfinwuuum is afforded before leav- ing Lake Constance for the Black t. 0 f peasants of the " sid, Purtwangen, Gutach and are viewed, and we are ished men we h Wildbad is rt. The that he donate land for an Audrey icture refers ) the judge's d- daughter, evidently a chip off the old ilock, who with her sister Sue mnfims an expose of the way of the modern flapper in her determination to get her man. One effective trick seems to be to run out of gas at an opportune mo- ment, only to be frustrated by a jeal- ous rival. The case of Conrad Burton, the young aviator in love with Sue, seems hopeless unless desperate measures are resorted to. The flapper ic equal to the emer- gency, and her grandfather is brought to terms after a scene in which pajamas, pistols, police and the family honor are involved. Result: Clairvale gets the airport and the aviator becomes one of the family. The conversation is alive with innuendos and repartee, which through the medium of Warner Bros. Vitaphone are clearly expressed. A special arrangement of Tschaikow- sky's “Melodies” provided the overture by the Fox Grand Orchestra, Leon Bru- siloff conducting. The orchestra also furnished music for the special danc- ing acts. Sunshine Sammy of “Our Gang” and his brothers demonstrate the “Jelly Roll,” “The Woodpecker” and some other new dance steps; a blond and a brunette sing a duet. “Yes, Suh, That's the Old Sunny South” and repeat with “It Takes & Good Woman Now: days to Keep a Good Man at Home' next what appears to be bearded Siam- ese Twins dancing to “Dew, Dew, Dewey Day” apparently are the Smith Bros. in close harmony; the dancing warms up considerably to the tunes of “Dixie” o kee Doodle.” Charles Chase, Get here early. Every hat and colors . ., large and sizes. New School DRESSES | Of novelty broad- cloth, prints, foul- ards; sizes 6 to 14. $1.39 English make. ‘The:slide Taylor! Mt‘in adds tly to the charm of the views. b Richard - Barthelms know from previous rough and _ tough. an ity to adapt 1f to charac- ter roles (and his present one of Steve Donkin, the adventurous, swashbuckling sailor, may be classed as such) entitles him to the h‘ah position he holds in the cinema. Always consistent and re- strained, he gives W performance de- cidedly werth your attention. Betty Compson, whoso swan song was sung long since by the more pessimistic, is here with all her fire and acting to add another victory (well earned) in her comeback, so called. She handles the main supporting role with ease, keeping pace with the star throughout. Loretta Young sparkles in a small though important part. A delightful bit is offered by James Bradbury, sr., as the “old salt” who relies on religion and hard liguor, and Knute Ericson is also seen 1o good advantage. ‘The story itself is a thriller, with well sustained suspense, but which in less capable hands could have become maudlin . It 15 dispatched with cjarity and intelligence and (un- less l;:e Ing x;lent twx'imgcev;i;h fl;: e equipment yesterday) lyn‘:g.ronlnd in the middle of the film. Octavius Roy Cohen’s “The Melan- choly Dame” provides the surprise of the bill. It is an all-sound dialogue com¢ w{u\h lnmnllll-Nem hmt. but agreeably, it is actually very humorous. Jack Norworth follows closely via Vitaphone in “Songs and Things,” assisted by Dorothy Adelphi at the g iano. v Danlel Breeskin's musical aggrega- tion in the pit, besides furnishing an excellent score for the noiseless por- tions of the feature picture, delights the sudience with an overture made up of favorite classics. A cornetist, who is not named, and Milton Schwartz, who solos through Kreisler’s “Liebesfreud” in 2 well deserved spotlight, are featured. The Earle Topical Review, among other interesting shots, gives a glimpse of Al Smith at play in the Southern surf. K.P, FOX—“The Little Wildcat.” In a typical Southern setting in Clairvale, Ky., “The Little Wildcat,” now playing at the Fox Theater, opens up with two old veterans of the Civil ‘War in their daily battle across the checkerboard, George Fawcett as weal- thy Judge Jasper Holt (former) private in"the war, and Robert Edeson as Joel ho used to be his captain, but is now & “hired man.” These two can screp over anything but the judge's pet abomination is any- thing connected with aviation and he sefuses with vehemence the n p LONG- CLOTH 10 yds. $ Sott | T G Novelty Aprons 2 for ¥1 Attractive aprons in the most novel Porto Rican Handmade Nightgowns . . eut full. TUESDAY 500 Women’s New Felt Hats ment to go at $1 . . . all wanted styles THE EVENING STAR, WASHINGTON, D. { mmmmm,mmmm le for that, and | pl diet of ted matchs, ¢ not ‘whatever else is -m the for his Dr. Robert Ben ’s nature study lecture “The Sex Life of the livered before the Woman's short talking feature, was hilariously received. The enthusiastic welcome accorded Capt. Fried and crew of the 8. 8. Amer- ica in New York City, is recorded by Fox Movietone News; then follows a fashion review, a boat that leaps out of the water, and an impersonation by G. Billings of Abraham Lincoln on the occasion of a farewell to the home town folks on February 11, 1861. PALACE—"The Anniversary.” To view “The ‘Awakening” at the Palace this week is to regret that the Vilma Banky-Ronald Colman combina- tion was ever disturbed, for Miss Banky, in her first star role, and with the feeble vehicle that they have given her for this heavenward flight, teeters mightily and needs the strong dramatic arm of Mr. Colman to get her over the rough spots. Walter Byron, her im- ported English leading man, is himself too unsure to do anything but make an unimpressive bid for popularity on his own account. His von Hagen in the present film is not a very telling gesture. Handicapped by the movie's customary compromise with “niceness’ he appears as & namby-pamby efligy of naughti- ness in a tin-soldier uniform, a clothes rack and little else. One feature alone can be sald to recommend the fllm, and that is the pictorial loveliness of some of its scen in our base- small head | but nature is man, thoi Victor Fleming’s— director's taste must be duly credited. Louls Wolkeim, giving promise in the early sequences of turning in a splendid plece of work es the cloddish, brutal, peasant lover, demoralizes into standard , looking and acting at times more like the in the Rock Creek Zoo than the chimpanzee itself. Granting, for the purposes of char- ity—known vicariously in the reviewer’s work as “fair criticism”—that an Alsa- tian peasant girl could be as dainty and sophisticated—for she is sophisticated in spite of her mimicked coyness—as Miss Banky's Marie, and the morals of an Alsatian village as fastidious as here represented, one feels a disheartening sense of artificiality about the whole roduction. The polished and politely lecherous young German officer, so the story goes, lays campaign to the village girl's favors; Lebolt, her generally ac- credited flance, asserting his proprie- tary rights in the matter, horsewhips her when he, and the whole town, be- lieve that she has surrendered. Along comes the 1914 melee; the three are re- met in a convent, where Marie, expiat- ing her wholly fictitious sin, is about to take the vows—the “White Sister” motif; Lebolt, brought by some unre- vealed agency to the path of righteous- ness, gives his life in driving the wound- ed German and Marie to the Kaiser's lines, where, in Shakespeare’s brief phrase, “he dies.” Let some of the scented subtitles in- dex the thing: “Von Hagen can win any woman. If he wants this one he'll take her,” a modest declaration for even a German pre-war officer. But Lebolt ds between clenched teeth “If you o, Marle, yowll have this whip to reckon with.” And Marie, some breath of the vengeful townspeople's gossip pénetrating her chaste density, com- The P DQW ns lains t “all the village is making & scandal of my . So much of a scandal, in fact, that “fltflgm offi- cer's imagined conquest ki Marie's cherished and comedy-relief old grand- father who, pitiful to relate, shuffied off these mortal coils before von Hagen's noble exoneration, “My folly brought her to my room, but her innocence saved us both.” And there you have it. The picture should serve to show Holly- wood that Miss Banky’s forte is honestly sophisticated stuff. She is a beauti- ful creature and far from a bad actress in suitable roles. ‘The musical accompaniment of the picture is characteristic. Irving Berlin's theme song, “Marie,” is featured. In the nunnery scenes an incongruously classic chorus sings “Gounod'’s “Ave Ma- ria.” An unfortunate feature of this synchronized musical score is its occa- sional swooning to lower key like a fa- tigued phontograph. The stage program at the Palace was well received. It is cast in the tradi- tional Spanish black and red style, with diverting bits included. Billy Gllbert’s talking violin and the sauve wit of Jack North proved the most popular. Wesley Eddy, garnished with a black tasseled girdle, was the urual composed master of ceremonies. Renee and Evelyn's tango twirl was exact and nimble. The Dorothy Berke dancers did the ensemble numbers, a mediocre baritone with an uncontrolled tremolo sang “Mia_Bella Rosa” and other things: Borge Moller and Joe and Jane McKenna, dancers, were among the other listed features. COLUMBIA—“Alias Jimmy Valentine. Proving that a good story can con- tinue to thrill audiences regardless of its age, “Alias Jimmy Valentine,” famous crook melodrama of a couple of dec- ades ago, dons modern clothes but keeps its_essential drama intact. To be sure, Willlam Haine makes tairs Stor at the stroke of 9:15 TUESD . MONDAY, FEBRUARY 4. 1929, his “Jimm; aines type, “fresh,” -eracl d boyishly amusing. Although he has utilized his penchant for “smart” comedy to the fullest extent, he does, in this picture, approach his more serious moments with a real sincerity. He breaks forth into speech at the picture’s gripping cli- max and proves that he is “talkie” material of rare possibility. Leila Hyams ‘gives charming support in a role that needs only prettiness to get it across. She has more than that, however, including a Vitaphone voice that is quite good. But Lionel Barrymore, in a grim char- acter bit as Doyle the detective, again diverts attention from the leads as soon as his mouth opens. There is an ease and a subtlety with which he handles his voice that puts him away ahead of any one so far discovered in the “talkie” ventures. A bit of moronic comedy by Karl Dane is averagely amusing, while Tully Marshall provides a drawn-out and sentimental sermon on the advisability of going straight. The story of “Allas Jimmy Valen- tine” is one of the famous crook yarns of the century. How a clever “safe- cracker” outwitted 2n equally clever de- tective and finally gave himself up in a gesture of real heroism provides the nucleus for a plot that builds to a climax of real suspense. Nor is the Vitaphone the least factor in the picture's success; in fact, it is the “talkie” that scores the triumph for a change. ‘The musical score features the spooky “Look Out for Jim- my Valentine” with varied efTect. ‘Sharing honors with the feature pic- ture, “Across the Atlantic With the Graf Zepplin” brings the principal characters in that great drama to the ‘talkie” screen and then goes on to give us the whole of that epdch-mak- ing veyage, with the hum of the huge c : viding effective reallsm. Dr. Hugo Eckener closes the unusual film with an interesting address and reveals himself a thoroughly charming person. “A" short but different” Movietone news reel and the usual silent news flashes close the bill —— nrnorouu:l;-_,'ne Redeeming craft A lot of dramatic stage business, suggesting scenes from “Seventh Heaven” arranged especially to suit the talents of Conrad Nagel and Dolores Costello, but with scant atten- tion to continuity or plausibility, has been gathered together under one title, “The Redeeming - Sin,” in Warner Brothers’ latest Vitwphone feature show- ing kat the Metropolitan Theater this week. “The Redeeming Sin,” a story of the Paris underworld, provides some excel- lent éxamples of pitfalls to be avoided by the scenario writer. It is not well, for instance, to have a youngster killed during an attempted robbery and then, with police hot on his trail and clues spilling themselves all around—in the form of trickling blood at the gen- darme’s very feet—on them in fact—to have the lad hburied quietly by his sister and no more said of the matter. Nor is it wise to stain the credulity with the spectacle of this same sister turning the vengeance of her grief upon a strange doctor who had not saved her brother’s life after the shooting, and failing to question how he had come to bz shot or who had fired the fatal bullet. Of course, Conrad Nagel wouldn't have been in the picture if she had turned logical and hunted her brother’s murderer, instead of dogging the doctor’s_professional tracks with new forms of torment to pay him back for failing to do the impossible. Perhaps Fleurette was a little mad. That is the most charitable lon for her reasoning—or lack of it. At any rate, Fleurette is a vivacious young person, and despite the weakness of her vehicle, she and Nagel provide con- siderable entertainment ~with their charming _personalities and dramatic abllity. Fleurette’'s young brother is an interesting character as well. We could have enjoyed seeing more of this young unknown. It was with doullle Tegret that we witnessed his early demise. A very amusing subsidiary comedy, “;I'he {l}g\b{le fl,{r, Bangs,” makes a strong or first place on the - gram. It is another Warner Bmt;‘:s attraction and comes under the class of the “All-talkies.” Also _on the Vitaphone are heard Sam Coclow, popular songster and writer of his own numbers, and his assistant, June Clyde, who likes to sing them for him. News features are presented in = | Pathe Sound Reel, including announce- { ment of a daring expedition to be made in the giant airship Graf Zeppelin, which visited the United States on its maiden cruise last Fall. LITTLE THEATER—“Forbidden Tales.”” Four mystery storles, filmed in con- tinuity and announced as the first at- tempt ever made to present a cineam anthology, are offered as the piece de resistance of the Little Theater’s cur- rent program under the obscure desig- | nation of “Forbidden Tales.” The same three principal characters, symbolizing Death, the Devil, and the Courtesan, move through the four stories, played respectively by Conrad Veldt, Reinhold, Schunzel and Anita Berber. The presentation is a melange of grotesque _make-up, _terror-inspiring (Continued on Twenty-first Page.) Every day we have *1 values—but TOMORROW we “Specialize” on *1 with extraordinary values TUESDAY Cotton Plaid Blankets Colorful block plaids weight, size . . . heavy double-bed fluffy in warm, 3 blankets . . . firmly woven. 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