Evening Star Newspaper, April 28, 1929, Page 51

D. C. APRIL 28, 1929—PART 4. AMUSEMENTS. | The Guild in Washington. [NOW that Washington has been in- 4N cluded in the annual tour of the Theater Guild Acting Co., the Theater AMUSEMENTS.’ The Moving Picture cAlbum By Robert E. Sherwood. 3— Talkies Are Exacting Guild announces that five of its pro-,¢¢ A CTING in the talking pictures 1s | most effectively to the microphones. He ductions will be sent to the National| so simple,” says the movie press | had to express a wide range of emotions Theater next season as the first Gulld | rspresentative “for the expert.” —joy, worry, indifference, excitement, Dix's Dictionary, } (CHARD DIX'S Abridged Dictionary THE SUNDAY STAR., WASHINGTON. lens the movie star’s latest idea for ‘Oldest Form of the Theater until sound engineers made the book | obsolete. Dix learned a lot about sound effects HERE are still some backward|into the cab. Still no words are spoken, m:ylfh:*“grfif;‘;‘m}: Jhe Delief | nor 1 there any occasion for any. We ture will be one which combines | 5% & policeman approaching the scene, | the old form with the new— oblivious. He turns a corner, sges that is to say, it will be a subtitled silent | the warehouse is being robbed and ap- e figf:fsé“l‘ilsjg\“‘;‘:rriff?‘“ and proaches the taxi on tiptoe, clinging 1o | Even the stanch reactionary Welford | the shadows and drawing his revolver Beaton admits that this theory is ab- | as he goes. | ;‘;{: s‘“fl;‘(’;r “L‘:'fst}:‘fi,,%“l:lfrr;fl‘mé‘}‘;; Finally he makes his presence known be some hope for dialogue if a pictre | t0 the gangsters in a few short words: | containing both sound and silence were | “Stick 'em up . .. Back up against that | a possbily. but it fent, When we hear | wall . . . Don't make & move,” ate. | I L e menist. hear cvreything el | Keeping his revolver leveled, he starts | he says when his lips are being, photo- | T2Pping with his nightstick on a lamp | graphed.” | post. Another cop, some distance away, | hears the alarm and blows his whistic, That is_the obvious truth. (I know | i ines More officers of the law hear him—and that Mr. Beaton will be pained to learn e night air soon is filled with the T e I ) e st | shrill blasts of their whistles and the | one g _or the & 1. | ominous beating of their nightsticks. | either be all-talking or it must be all-| ORHORS BeALRE Of REF MISRLEICks, | silent, without so much as a theme |, ReTUENING to tPe FECRE Of T, roRC | O crowd nole fomar 1t ¢| window of the taxi. In that hand is a | e R S T B eter | Tevolver. The revoiver is fired; the po- | entertainment, “Show c)}.(h\'.lth“ - | liceman crumples up end drops dead. Dess the supreme test of the theory|my thieves and the mysterious taxi dis- that subtitles and dinlogue may be com- | as THIGIES ARG EO0 BECHOUR B0 6 5 bined. First, there is the prologue. in| opc s ypon the scene—too late. One which Carl Laemmle, Florenz Ziegfeld, | (6P NI VPOT, 00 SCORCCCAOn ey o Helen Morgan, Jules Bledsoe and others | ;yer the body of his fallen comrade, and talk and sing. Then the picture ftself | 9¥St % BOST O o o othe starts with magnificent scenes showing | o1 GeEY N JEFS T0 VLR LA B HENC the arrival of the show boat at a Mis-| go&,c20 /% el o grim vengoance. sissippl_landing. The audience hears | GeECRHRE FIMEE L B R of fiim the calliope, the brass band, the ecstatic | ;20 R b TR ST Dacked cheers of the mob and other sounds | yity the sort of melodramatic action but when the principal characters are | for which the screen is famous—or no- Introduced they converse With each|iqnous In the course of it, no more other in print and the spectator realizes | (o 20 G (AR T oo i D that “Show Boat” is a “sound pleture’ | harsh, “terse commands of the doomed | without dinlogue and adjusts himself | (0o"t: 1is® temporary prisoners. Seoordingly. Granted that the sounds of the taxi Later on in the story the characters | motor, police whistles and revolver suddenly, and with no warning, start| shots should have been recorded on the to talk out loud. After a while they re- | film, would the episode have been more vert to silence; then they talk again; | effective if the 12 words had beén print- then they are once more silent. Toward ed in an interrupting subtitle instead the end one is apt to become uncom- | of spoken out loud? fortably bewildered. Each time the| For myself, I much prefer to hear scene changes and & character starts| the speech. In spite of the fact that to speak there is no way of telling|it comes from an electrical amplifier whether his voice will b> heard or|rather than directly from the human whether the movement of his lips will | throat, I consider it more natural. more be followed by an explanatory subtitle. | honest and much more dramatic than | The suspense is awful. a printed subtitle. There are those who “Show | disagree. Pm:.mnnuly. 3 the fhune of e Incidentally, every one who. wishes to Boat,” the audience is kept in a state of emotional coma by the frequent rep- | 8Tgue about the talkies (in a word, ctitions of “Ole Man River.” One every one) wil do well to seo “Alibi.” emerges from the picture conscious only | It proves that the effect of dialogue on | of the fact that even if “it don't say nothin’ it jus’ keeps rollin’ along.” In the minds of those who are un- alterably opposed to the talkies there is only one sound that is forbidden on | picture has been vastly overrated. (Copyright, 1926.) during_his work on “Nothing but the Truth.” He had seen the mechanical process improve greatly. so that the well ! known tendency of talking pictures to lisp had been practically eliminated. However, there were still a few words that caused trouble over the micro- phone. Dix's list of dangerous words included conscientiousness, business, ef ficiency, office, voice ai ever he could find & synonym for one {of them he used it. On his first trial with talking pictures the star said to the microphone, “M: goodncss sakes, this is & quiet plac Say, I've got a great name for this— speakeasy”—a speech just full of th> dangerous “ess” sound. Then the rec- subseription season in Washington. ‘The plays are ‘“Caprice,” “Marco Millions.” “Volpano, “R. . R ‘Wings Over Europe” and perhaps “Maj. Barbara” and “Pygmalion.” The first five plays are definitely scheduled | for the Washington season, and there is a strong possibility that the latter iwo, both Shaw plays. will also be in- cluded, although this has not yet been definitely determined. “Caprice” will have Alfred Lunt and Lynn Fontanne in iis leading roles; | “Wings Over Europe” also will have its | principal New York players, and al though the casts of “Marco Millions,” | | “Volpone” and “R. U. R."” have not yet {been fixed, many of the original play- |ers in these productions will be seen in | “Even in its most exacting scenes it probably does not require much more lucldity of mind than playing a couple of chess games simultaneously blind- folded,” he continues. “It was a scene of this nature played by Walter Huston, the stage star, at Paramount’s Long Island studio which set the experienced actors of the com- | pany gasping. with admiration. Huston has the featured role of Wick Snell, the newspaper reporter, in the film ver- sion of “Gentlemen of the Press.” The scene shows Snell at the office, trying to get away to the hospital where his daughter is Il at the same time that a sensational news story is breaking “He had to be mindful alwavs of four perplexity, dominance, futility and a few | others. ‘Through it all he had to re- member his lines, speak them convinc- ingly and carry out his action naturally. “All this took place in 237 feet of film, less than three minutes of showing time.” Mr. Huston's experience {llustrates some of the difficulties in making & alkie,” also why “talkies” so often are unsatisfactory, if any of the players fail to meet the exacting demands. i Coincidence. JAMIEL HASSON and Tom Tamarez, six-foot Kurdish guards of Prince ord was played back for the star to hear his voice. “Is_it possible?” asked Dix. sounds as if T was in a den of snakes.” And from that moment he began fo compile his “Essless Dixiona? Unfortunately for the enterprise, how- ever, the elimination of lisping was effected by the engineers a short time after Dix began the work, and now he vs there will be no market for the . — | British Talkies. i 'THE first two sound stages in Eng- | land are now completed and went | into operation recently at the Elstree studios of British International Pic- | tures. This means that all-talking pic- tures will soon be flowing to America from England for distribution in the United States and Canada. Just before sailing for home after a | conference with World Wide officials on | a talking picture program for this coun- | try, John Maxwell, chairman of British | International, said that about 15 dia- logue productions would be turned out at Elstree this year, and from 20 to | 25 next_year. | | | The first picture to be put into pro- duction on the sound stages was “The Informer,” Liam OFlahety's dramatic story starring Lars Hanson and Lya de Putti, and directed by Arthur Robinson. Kept His Head. | MAGINE going through life balanc- | ing one’s head on one’s shoulders ob- sessed by the constant thought that it might roll off at any time. A bit far-fetched, perhaps, but never- theless Phillips Smalley, a well known actor and director, who plays the part | the essential technique of the moving [of Col. Mannon in “True Heaven,” Li}mar)onpth are the rebirth of a very walking around with a broken neck. | Fate played a queer prank on Smalley. = His hobby is horesback rid- ing, and eight years ago he boasted of | will be members of the Theater Guild, | lights. He had to talk over the telephone | and all principal players will be drawn |And 1o a dozen perscns. He had to sit “The Melon Thief,” a scene from an old Japanese farce produced by the : Tatterman marionettes. HE “Tatterman Marionettes” have|to be master of a number of arts, in- been in town! Which goes to prove | stead of merely being an amateur that Washington, as well as the rest of |showman with dolls. It takes an en- the United States, has become inter- |tire Summer for these puppeteers to ested In the oldest form of the theater.| make their puppets, scenery, etc.. to And after these marionettes had left, | study and create the proper motion for those who saw them were awakened to | each little actor, and to get each play the rediscovery of an ancient art. | perfectly synchronized. When these marionettes were at the| Masters of the art have discovered Wardman Park Theater, presented by |from ancient times down that the the Children’s Theater Co. children marionettes develop personalities of came in flocks to see them, accom- | their own and sometimes seem to take panied by adults, whose curfosity was | things into their own hands, so that Dften as strong &s the children's. Al | after creating a marionette the master came with the idea of seeing exclusively | must needs study the temperament of a children’s show. When they left,|his creation. It is fascinating to see however, they took away a different | these small actors manipulated from impression, realizing that from an ar-|8 bridge above them. They are hung tistic standpoint, both in staging and | from a horizontal beam and the pup- | in acting, the production was equal to | peteers, standing on their bridge, | their own exacting demands. | manipulate the strings with the deftest | 1t seems a far cry from the “talkies” | touch possible, so deft that when the | {o the marionettes, but in reality there m!uss does a rhythmic dance her | is a parallel. Both are representes “y-cm:ny seems to undulate. | by figures whose volces come from bacl ‘The Tatterman Marionettes” are to stage, 5o to speak, and while the talkies Visit Washington again next year. are the development of a new art, the —_——— | Interestmg Short Films. | pocaching into ancient Egypt and (SOLUMBIA PICTURES announce B, e M it W in its talking program for the cur- the tombs of the kings and queens, the | rent season, two series of short subjects | old one. ‘Washington. in all instances be used. Original productions will All players | from the Theater Guild Acting Co. FUBEE ST ik Ambltxon Rea]xzed. ‘ («POP. I wanna be an engineer” | Many a child has thus expressed ! the youthful ambitions of his dreams. | Actors, when they were children, had | glorious visions of what they would be | when they “growed up,” but there are | only a few who have realized their aims. Adolphe Menjou, for instance, wanted to be a civil engineer. Emil Jannings wanted to be a sailor. Chester Conklin aspired to be a silver-tongued orator. “Buddy” Rogers is one who has real- ized his childhood desires. He wanted to be the leader of a jazz orchestra and play all the instruments himself. He does just that in the Paramount pro- duction “Close Harmony."” | 1t is an all-talking, singing and danc. ing play from the story of back-stag life, written by Elsie Janis and Gene Markey. “Buddy” has the featured male role of a jazz band leader and he plays solos on trombone, drums, saxo- phone and trumpet. | | 1 One Advantage. ‘ HERE is one person in particular | who has been greatly benefited by | talking pictures, ‘The mother who used to read aloud | the screen titles to her curious off- | spring. | Therefore theater patrons are happy. So more people go to see talking | pictures. The theater men are happy! Ahmed in “The One Woman Idea, both Syrians, alike as two peas, yet theyi never saw each other until recently when they met on a motion picture set.; They might easily be mistaken for twins, they are so much alike in every, way. s ‘The strange part of it, however, is { ugm they were born on the same day im ! 1901 microphones and three cameras, with the brightness and shadows of a battery of and stand up, walk to the door and back to his desk, in all he had to take 11 different exact positions, to which he was followed by the camera. He had to be careful clso of the tilt of his face, in order that his words might be sent -Crandall Fheaters \ Presenting Photoplays While They Are Still New ta the Public This Week We Present Two Talking Pictures Now Playing on Broadway SN NIRRT “RERA TROPOLITAN] o Jagz/ owevG! SING'N i BgAuTY GRS/ PARAMOUNT'S All-Talking—Singing—Dancing Screen Knockout. “CLOSE . HARMONY” A Thrilling Jazz Revue . and & Dramatic Love Story with oo quite a formidable stable, yet when |art of puppet making was known in all | “Columbia Gems” and “Screen Snup-l And the film companies are called Southern Voices. fate'’s hand reached out and chose to |the countries of the ancient world, in- | shots ™ each to consist of 26 films, to upon for more talking pictures. the screen—that is the sound of the in- dividual human voice. In such worthy pictures as “The Iron Mask” and “The Divine Lady” it is permissible for the Movietone to record the roars of crowds, the clash of swords, the boom of cannons or of surf, the clatter of horses’ hoofs, the crash of broken glass or the roll of a drum. But the moment one of the characters says “Boo!” to the passing goose, then everything is violated, in- ARRY POLLARD, director of Uni versal’'s “Show Boat,” great pains to collect as many voices | with southern accents as he could; partly because the locale of the picture | was the lower part of the Mississippi | River and partly because the southern | voices are naturally low-pitched. “Laura La Plante has one of the break Smalley’'s neck he did not fall | cluding China and Japan. The marion declares ' from & horse, as might be supposed, but |ette theater was a great favorite i that in making this picture he took |took a header from an automobile in & | Greece and Rome, and after its develop- collision in Brooklyn. |ment as a means of telling the story He was apparently not badly hurt |of Jesus in the early Christian area but later a stiffness in his neck de-|it gradually changed from religious uses veloped and he consulted a physician. land became an entertainment. Some X-ray pictures were taken and | introduced the marionette into Europe, Smalley received the cheering news that | where each country developed it ac his neck was broken. | cording to its own peculiar thought. be produced on a lavish scale with dia- | logue, music and sound effects. Because of the novelty of their sub- | | ject matter and the many stars ap- | pearing in their casts, these short suh-‘ | jects will be entirely different from the | Italy | current film fare. “Columbia Gems"— | now being produced jointly by Columbia and Victor—presents the pick of Victor's large array of talking and singing talent, ‘The producers are happy! All bacause the talking is now done from the screen and not from the audience. | | | | [ | | His Voice Melodies. Hear Him Play Every In- strument in the Band. Hear the Thrilling Tome of 2% in New 72 7 | best voices for recording that I have Having gone along for eight years|In England the Neapolitan marionette | which includes prominent names in the | tested,” declared Pollard. _“She was with a broken neck with nothing dire- | Pulcinella became Mr. Punch; in France, | legitimate, vaudeville, operatic and re- born in St. Louls and her early life|ful occurring, he has ceased to worty | Polichinelle: in Germany, Hans Wurst, | cording fields. was spent in that city. Her voice is|about it, though he is never unmindful |and in Holland, Jean Pikelherring. But| “Screen Snapshots,” Columbia’s screen | low and while she has lost the localisms | that it is necessary for him to carry ih none of the modern countries has the | magaszine, now entering its ninth year, | | of the South, the tone quality is still | his head with considerable caution. marionette developed as in England and | will be offered for the first time with there.’ ——e- - in France, both as an authentic marion- dialogue, sound and music effects. It In this connection it is interesting to ette animated by strings, and as & reveals in entertaining fashion intimate | taieals ark to the curb. We | know that Joseph Cherniavsky, musi:all guignol, or puppet, into which the hand | scenes of the stars at work and at play, | A taxicab drives up ot CTme cap | director at Universal, favors the use is_inserted. | and includes in its casts the stars and don't see who steps into it. The cab | or soythern voices for movietone. Ac- The feature of the show at Wardman | prominent personalities of every com- | cluding the art of the cinematograph. Sir Isaac Newton’s naturzl law and common decency. A lengthy sequence in that all-talk- ing thriller “Alibi” provides a case in point. The audience is shown the out- side of a theater, with customers stroll- ing out for a smoke between the acts. . NANCY CARROLL Hear Her Sing, See Her Dance, and How! o 4th and Bui House of RCA Today at 3:00, 5:00, 7:00 Tomorrow at’6:00.'7:32 WARNER _BROTHERS'_ VITAPHONE ALL-TALKING SUPFR PRODUCTION, ernot Sty Photophone and 9:00 and 9:34 HOJ Jannings Goes Home. JEMIL JANNINGS is going home to| ~ " his beloved Berlin on a vacation. | AND TO COMPLETE THE PROGRAM A Chris All-Talking Comedy darts off and we travel with it rapidly | corging to Cherntavsky he finds that through the brilliantly lighted sireets | of the theatrical district, then away | bic $oUthern volees record botter than from the main thoroughfares into a | *"Yrp~ The noted continental star was grant- | d an indefinite leave of absence by | Paramount and will leave for Europe | e Park was “Aladdin,” the play Gatharine Reighard. As some adul in the audience remarked, it was un-| believable that the mouths of the pup- l‘:y | pany in the business. From London comes the report that “ON TRIAL” with BERT LYTELL. LOIS WILSON and PAULINE FPREDERICK. Also PATHE_SOUND NEWS. “Jed’s Vacation VITAPHONE SHORT REELS iy pitch of the southern voice ! during May. Henrik Ibsen’s play, “The Doll's House,” s to be produced as a talker under the direction of Paul Wertheim. JESSE THEATER S 3:30 to 11,P.M. continuous— MAD.” WAth H. B. LOUISE FAZENDA. _AESOP'S_FABLE_and_TOP pets did not move. The synchronizing | of the voices of the puppeteers with th actions of the puppets startled the imagination into accepting almost any- | = thing. Good lighting effects helped | series of dark alleys, ending up at the | js espocially suitable for® movietone. | This will be Jannings' first visit to PATHE SOUND NEWS back door of a warehouse. They have, however, one grave defect | hj; | 3 2 s home since he was placed under | Nm-voxdhhul:e‘!‘ld&fll:d 3.‘""“" t£ls which must be guarded against and |contract by Paramount o s:pur:becr. ride, but we have heard the taxi motor, | that j5 the linison. the linking of one | 1926, after a series of successful Euro- | the squawk of its horn, the Jarring|gword with another,” says this Russian | pean-made motion pictures. Due to his 2105 Pa. Ave. #h. groan of ite brakes at the intersections, | muictan. that when the the roar of its gears as it starts up “I find, however, again. | southerner’s voice is trained it records At the warehouse thicves rush out | beautifully and reproduces more na- bearing stolen furs and throw them | turally than any other. ELIST ARRIVES HGLLYWOOD Fannie Hurst arriving in the motion picture capital (o supervise the makirs of the film “Lummox,” from one of her novels. A SECOND BIG WEEK._ CARL LAEMMLES MOVIETONE.. MORE THRILLING —— AS CHARMING— AND WITH ALL THE SONG HITS OF THE ZIEGFELD PLAY SUNDAYS ATT2 734945 I R’Am THEA Oth. at SATURDAYS Bor Seats QO extensive work before the cameras in Hollywood Jannings has been unable to leave this country since his arrival. ‘The sextet of American-made films in | which Jannings has appearad are “The | Way of All Flesh,” “The Street of Sin, “The Last Command,” “The Patriot,” “Sins of ths Fathers” and the recently | completed “Betrayal.” Theater G.u;ld fiews. RIEDA INESCORT and Percy Waram have been engaged by the Theater Guild to tour next scason in Bernard Shaw's “Major Barbara” and ‘Pygmalion.” Miss Inescort will play the title role in “Major Barbara” and the role of Eliza in ‘“Pygmalion. Mr. Waram will play the Bill Walker (tough cockney) role, which he played in_the | New York production of “Major Bar- bara” and also a leading part in “Pygmelion.” { Miss Inescort recently concluded a tour with George Arliss as Portia in | “The Merchant of Venice.” Mr. Waram | at present is playing in “The Camel ‘Through the Needle's Eye. | Engages Noted E;pert. (COLUMBIA PICTURES has appoint- ed John Paul Livadary, one of the leading experts on synchronized picture technique, to head the company'’s sound operations cn the West Coast. | Mr. Livadary’s training and experi- ence both in the musical and technical fields are sald to make him an ideal choice for his new appointment. He | recelved his musical background in Italy | | while one puppeteer may be manipulat- | ward Mabley. this, but it was mostly done by “throw ing the volce” from behind the scene | and the remarkable changes in inflec- tion and feeling as the lines were read. An intercsting - thing, too, is that THR SAOW WITHOUT EQUAL LOEW’S E st _13th. Cont, from 11 NOW PLAYING ing the strings of a certain puppet some one else will be speaking for it, which, of course, means strenuous practice and a well oiled human ma- chinery. ‘Written with the simplicity of real art and interspersed with touches of humor that appealed to both children and grown-ups, “Aladdin” also con- tained a strong dramatic element, which |was admirably brought out by the volces and the acting marionettes. All the work of costume making, scene painting and whatever goes to the production of the show is done by the owners and producers of the show themselves—Willlam Duncan and Ed- Not only this, but the marionettes are made by them as well, and that is really an art in ftself. In fact, to produce a marionette show is ——e LITTLE == Film Arts G:''d P Washington . —ON THE STAGE— PEARLS of BAGDAD orlental fan- and artistry. ents cmiere Direct from New York Run o e “SHIRAZ” A Romance of India and at the New Engiand Conservatory, at the Massachusetts Institute of Tech- nology. Prior to his Columbia affiliation | he was manufacturing methods engineer for the General Electric, transmission | engineer with the Pacific Telegraph and | ‘Telephone Co. and head of the trans- | mission department for Paramount. s ‘The president of the Russian Sovkino is reported to have stated that he did not think that his corporation would abandon the silent picture. THE HOUSE OF S0 CoLUW M NOW PLAY ADDED A 5 a0 SUNDAYS /D Children 25% SONGS OF TRE FOUR MUSKETEERS METRO MOVIETONE ACTS MARION HAPRIS, FOX MOVIETONE NEWS and acquired his technical knowledge | More Beautiful Than - “LIGHT OF ASIA” Perf, Cont. 1111 Adm. to 12:30—28¢ LOIS UND HITS B PRESENTED BY ING Accompanied JOHN 40-FOX LEON 3 BOBS 14 TTRACTIONS “Songbird of Jazz" M.G-M NEWS YRUEHEA Pb. W. 953 THOMAS MEIGHAN. EVE- INT. m A 'TAP] ACT. “TWO _ CAMEO THEATER ™ B TOMORROW—MARION _DAVIES. WM. ;ldAmsfl in ‘sliolvdn?!!OPL!' (Syne.). NDIIMBARTON '%iveomis A DONALD REED in “SHOW GIRL." COMEDY, “WHOSSZIT." “ABIE’S IRISH ROSE” 4 'IBERTY.m““ N. Cabitel St GRETA GARBO, ORGHIDS. ELI'rE 140> R, 1. AVE. N.W. ‘TODAY- CHARLIE ROGF! “W Tom Between Loyalty To Her Country— And Devotion to Her Lover— GEORGE O'BRIEN MORAN ;, Vi WILLIAM FOX A Romantic Drama of International Intrigue by a Superd FOX MOVIETONE Symphonic Score ON THE STAGE IRVING FISHER Master of Ceremonies Extraordinary! JAZZMANIANS-40 BRUSILOFF. Conducting WEE WILLIE ROBYN Star of Roxy's Gang PAUL KIRKLAND (O’CONNOR SISTERS MILLER & KILO HARRY STEVENS and the Dainty Dancing Stars the GORGEOUS FOXETTES DAILY NAM=IIPM.f: He Wouldn't Tell & Lie— But How He Could Talk. RICHARD piX}y All-Talking Comedy, « Musical Comedy With Dix At His Best NOTHING BUT THE TRUTH OTHER HITS ON THE PROGRAM Concert Overture “Countess Maritza” Augmented Earle Concert Orchestra Daniel Breeskin, Conducting Earle Topical Review Vitaphone Presentations lity With That 1 in Sk Eeuipment Identleal in Size 7, ik That Now in at Sunday—Monday—Tucgday RICHARD DIX With Helen Ksne, Victor Star in Their First ‘Talking Picture NOTHING BUT THE TRUTH Wednenday ‘Thorsdny ADOLPRE MENJOU in “MARQUIS PREFERRED" FRIDAY EDMUND LOWE in “MAKING THE_GRADE"” 9 85th OR c. t 911 B St. N.E. TODAY and TOMORROW-_RICHARD TODAY AND TOMORROW-—NANCY DIX and HELEN KANE in “NOTH- CARROLL in_“THE_SIN SISTER. TRUTH" (ALL- | ME 150 C St. N.E. 62 H St NE. | TODAY—WM. HAINES in “THE i 'IZ"EKDE\m (SYNCHRON- OUT.” R ILOREN OF THE ___RITZ"_(SYNCHRONIZED). AVENUE CRAND &2 %% TODAY and TOMORROW-—RICHARD R, HE] MBRS “§n \RY RIV- 535 Sth St. S. N] 'OMORROW—_NAN( TRt A N R gAon 14th & Col. R4. N.W. ‘TODAY—DOROTHY MA( a JACK mflA&L in _OF THE_RITZ. Tlvol-l 14th & Park R4 TODAY AND TOMORROW—JEAN. DIE QUILLAN G POLis. (SYNCHRON: 1ZED.) YORK O Ave. & Quobes st N.W. ‘TODAY _ AND JORROW—RICH- TODAY = and =TOMORROW-LEA- TRICE_JOY in “THE BELLAMY TRIST s (BUNOURONIZED oo CHEVY CHASE sieR%ivs n? ORROW_LOGIE TOM¢ Ga. Ave. & Farragut St TODAY—LOUISE FAZENDA and H,