Evening Star Newspaper, May 5, 1929, Page 59

AMUS The Moving Picture cAlbum By Robert E. Sherwood. HE talking pictures have revealed ,one . curious and fascinating fact—that hotels which cater to the theatrical profession equip their rooms with 24-plece or- chestras that are prepared to accom- pany the guests whenever they desire to burst into song. There is a scene in a hotel room in “The Broadway Melody.” with Charles King making love to Anita Page. Pre. sumably, the two sweethearts are bliss- fully alone—but when Mr. King starts Ivrically to assure Miss Page that she was meant for him, the convenient or- chestra picks up its cue and follows Mr. King through the song. Similarly, in “The Rainbow Man” Eddie Dowling and Marion Nixon are observed together in a room in a little inn, in an obscure Southern town. Mr. Dowling starts to describe - the natural beauties of his homeland, and before you know it the unseen musicians have joined him in hymning the prases of “Sleepy Val- ey.” | Some months ago I voiced in this column the opinion that musical com- | and Willard Mack prepared the dia- EMENTS.' 1929 -PART 4. THE SUNDAY STAR. WASHINGTON. D. €. MAY 5. | advised to take with them a liberal sup- ply of pocket handkerchiefs. They may cry because they are grieved to see such antique hokum inflicted on the modern | public, but at any rate they'll cry. To get the full forces of “Madame X" it is necessary to be extremely pa- tient with it. For it starts none too promisingly and becomes even less en- | thralling as one dreary stretch of trite dialogue succeeds another. ’The faith- less wife is cast out by an unforgiving husband; she isn't even permitted to say farewell to her baby boy. She then goes to China. She sinks down—down— | down. At length (at great length) she turn: up in Buenos Alres, and then, magically, both she and the story come to life “Madame X" moves upward from then on to an ultimate court room scene that is not much less than magnificent. Ruth Chatterton has the title role, and through most of the picture she is | embarressingly bad. She is superb at ! the finish—and. it is the finish that | counts in “Madame X.” Lionel Barrymore directed the picture, W ! of youth. Sitting on the Top Rung of the Photoplay Ladder Little Bessie Love Finds Her Big Chance in the Talking Pictures HEN BARRIE wrote “Peler Pan” he might have h in mind Bessie Love—tod loading figure in talkine singing, dancing _picture Standing 5 feet in her high heel ighing not quite 100 pounds, Lit'l je of the golden bob and big. child- brown eyes, makes you believe in alluring fantasie No one calls her “Miss.” It's Bes- sie, from prop boy to president. For Bessie Love is one of those rare being around picture studios—a good troupe Her cyclonic comeback in the m extravaganza, “Broadway Melody,” ar all the adultation showered on her a filmland’s latest dramatic sensation, hasn't turned her head. If you expeet this leading lady of the talkies {o emote over her success you'll be disappointed I was. After waiting several wecks for an appointment, I went to lunch with her at the studio cafe, anticipatin B like fairies and all the By Mayme Ober Peak And so it We won't are satisfied with the voice. will be with a great actress. cxvect her to sing.” Bessie loves to tell about how bearded the master in his sanctum of sanctums. “I wanted to get a job,” sh said, “and pictures suggested the easfest way. I had an idea I could run around the lot and do what I was told to do Some one said if you want to go into pictures, you ought to see Director Griffith. So I went to the studio—the old Fine Arts, where Mr. Griffith had turned a bungalow into an office. I was | asking_some one where his office was | when he went through the room and heard me. He went in his office and | waited until I came. “He has an uncanny way of picking screen personalities. It isn’t that he can sit down and figure it out, but he can glance at people and tell whether they will do or not. “Evidently, he saw some promise in me, and he got a terrific kick out of my she | AMUSEMENTS." ! Getting Thin by Contract. ATTIE NOLES, the 215-pound | comedienne in “Darktown Af- fairs,” the musical comedy jamboree at the Strand Theater this week, has| | stipulated in her contract with the | | management that Hattie must not take | ion any more weight, and for every pound gained she is to be fined $1 a week, while for every pound lost she is | to receive an increase of 50 cents in her pay envelope. | Hattie not only does her regular rou- | ine specialties, but has been joining in cvery chorus and ensemble in an effort 10 boost her salary. can see whar that manager man “m a goin’ to give me quite a substan- 1 increase in salary by the time_this mboree reaches Broadway,” says Hat- | already done dance off two pounds last week.” | " Despite her great welght, Hattie is said to be really a graceful dancer and a genuine comedienne. Her “Milinda” | song is one of the hits of the show. Next Week's Photophyl METROPOLITAN — Warner - Bros.” Vitaphone produ tion, “The Desert Song PALACE—Norma Shearer, in Metro - Goldwyn - Mayer": “The Trial' of M« Dugan.” EARLE—Colleen Moore and Neil Hamilton, in “Why Be Good?” RKO'S RIALTO— (Possibly) talking-singing picture, “Syncopation.” COLUMBIA — (Possibly) Jeanne Eagels, in “The Letter.” FOX—Warner Bros.’ Vita- phone picture, “One Stolen Night,” featuring Wiliam Collier, jr., and Betty Bronson. i | edy. with its arbitrary “song cues, would be impossible on the screen. I believed that if a song were introduced, ‘Xh!" would have to be a logical reason or it. | The riumph of “The Broadway Mel- ody” would seem to indicate that I was woefully wreng. Nevertheless, I stick to my opinion. I still refuse to believe that a musical comedy, as it is known on the stage, is permissible on the screen. “The Broadway Melody” can hardly be described as a musical comedy. Most_of its song numbers are intro- duced legitimately; they are part of the natural jazz atmosphere of the story. But the orchestra in the hotel room is a false note, and I feel certain that every audience resents it. Several out-of-town musical comedies are soon to be released—"The Desert Song,” “The Cocoanuts, io Rita,” the “Fox Movietone Follies” and the “Metro - Goldwyn - Mayer Revue of logue. Both of them are skiliful and k smart, but both have a great deal to | gladsome thrills. learn about the art of moving pictures.| Honestly, I don't know how she By all means, sce “Madame X" at the | achieves such nice modesty in the face earliest opportunity. But remember [of so much fulsome praise. Crossing what I told you about the handker- the studio to lunch, she chiefs. {no less than ten times, while d jlunch_a former director’ of Bossie the old Vitagraph dass came over t) o | the table to squeeze both her hands and in a small part in “Madame X." |,y T told them so.” Of course, Bes- and he is superlatively good. Although sie Love adores all this, Otherw the character that he plays is of no | % 't be | 3 { she wouldn't be human. But she know significance in the story, and although | 10% W . el Bl " how violently Hollywood “taks he has nothing remotely resembling a | ov . “big dramatic moment,” his perform over -the latest sensation. When I ance is so commendably adroit that he | 25cd What her reaction was, s B is rewarded with a hearty round of ap-| " 7" ° ¢ 2 o plause by the audience when he van-| “I am very happy about jt. Sounds ished from the scene. | insane, but I always take things quietly In “The Voice of the City” Mr. Mack | as they come. People are fickle. The appears under his own name and also | thing of the moment they grab at: to- on his own home grounds. This is a | MOITOW it is something—or somebody sizzling crook melodrama. full of yeggs, | €lse. I feel that this is just my brief bulls, stool-pigeons, molls and dopes.|moment. I am not enjoving it any less. Naturally, I appreciate sincere coming straight to him for a job when | I had no idea what it was all about. |} Anyhow, when I knocked on his door |§ he was telking to a scenarist, who came | to open it. ‘Mr. Griffith is busy now, he said. ‘Have you an appointment?’ Oh, yes!" “Mr. Griffith had nodded to this man, so I went in and waited. He had a lot of fun asking me questions, and then | he told me to come back and take a | test. I asked him if he couldn't wait |a week, as I had to go back to school and finish or I wouldn’t get my credits. He laughed, gave me a pass to the udio and said that after school was ver to come and take a test and get | § used to things. The first picture 1 worked in was in a fire scene. After that, I was placed under five-year con- tract. It was wonderful. Mr. Griffith taught me everything. It was just like 2oing to a marvelous school, for we used | to rehearse every scene carefully.” * *x %k % VWILLARD MACK appears incognito | Sunday 2 to 11 P. M. Dafly 10:30 A. M. to 11 I. M. FOR THIS WEEK ONLY Presents a Three-Star Cast BACLANOV Revues” It will be interesting to see how the public_accepts the harmoniz- | ing Arabs in “The Desert Song.” or the sudden duets between Oscar Shaw and | Mary Eaton (with a background of ir- relevant Max Brothers) in “The Cocoa- nuts.” { My guess is that the public will ac- cept neither with any degree of en- thusiasm—but' it's just pessible that I'm wrong again. R i 'HERE are no musical numbers in “Madame X.” which opened last week in New York, but the picture moves forward with a steady accom- | paniment of sobs, supplied by the audi- | ence. -In the final scenes of this drama, | the lines spoken by the characters on | the screen are practically inaudible, so Joud and so frequent are the catches in | the throats of the spectators. | In this advanced and super-sophisti- eated age, it is usual to scoff at old- | tashioned sentiment—especially that! bogus form of sentiment which was | known, by our ingenious ancestors, as| mother love. Nevertheless, those who | g0 to “Madame X" prepared to enjoy a | hearty laugh at its expense are urgently | | Hollywood. It was written by Willard Mack, it was | directed by Willard Mack, and none | other than Willard Mack enacts its most important role—that of a dumb but persistent detective who is deter- mined to send the poor hero “up the river, handcuffed to his wrist “The Voice of the City” has the fastest, liveliest dialogue of any talking | picture that has yet come forth from S ST!LL another picture that deserves mention on the “by all means” list is “Close Harmony.” which has been tremendously successful in the few cities where it has been shown. It, too, is all-talking, but the dialogue is punctuated by song dances, and, best of 21, by action. Furthermore, it is| played in an exuberantly sprightly manner by Charles Rogers, Nancy Car- rol and others, and directed with rare good sense by John Cromwell. ‘There can be no question of doubt that the talkies are improving in tech- nique, in entertainment value, and even in intelligence. (Copyright, :dward Sutherland and 1929.) | girl, T have been like this. things people say, but at the same time I think many are swept off their feet, by emotion. Since I was a tiny When any- body said my hair was pretty, that I had a lovely sash on, or I would slay men when I grew up, mother taught me to take it with a grain of salt, not to believe everything. “Opportunities come to us all.” she went on, “at one time or another. Everybody gets ‘breaks,” bad as well as good, but they don’t know how to treat them. I hate people who go round telling about the bad luck they've had.| Look at successful people; they have taken advantage of their good breaks and treated the bad breaks as just part of the game. When good times come, no_one appreciates it more than I do 1 believe in taking full advantage of it because there is enough tragedy.” It paid Bessie to practice what she preaches. When she found herself slip- ping down from the top of the screen ladder, where she miraculously started as an untrained high-school girl, sh took dancing, singing and ukelele les- sons and went on a vaudeville tour. When her big break came with the A RECENT PORTRAIT OF BESSIE LOVE. she loves as well as her cherished | career on Broadway. : Until she portrayed this role, Bessie | told me she never had quite appreciated before what “good trouper” meant. “I had heard the expression often,” she | said, “but it didn't really occur to me that it meant taking things in the chin likke a little man until they called Hank | a good little trouper. I thought it | meant a good actor. | "“In this business you have to work | under such adverse conditions. Some one in the company 1s bound to be sick, | or lose & relative, or have some kind of | trouble. There is bound to be some | | one who is not a good trouper, or some | { personality that is awful to be around. | | You get on the set and maybe your | dress is wrong. All you can do is simply | | make the best of it.” | "Being a good trouper, evidently they | | don't handle Bessie Love with kid gloves | at the studio. On the contrary, they | | throw their best box office bet about the | | to group. heads and back and forth from group Although Bessie looks like a thistledown, she is solid as a So when she came down three the concrete floor of the sound stage, the carelessness of her dancing vpartners caused her painful bruises. For two weeks she limped from studio to bed. I didn’t get this from Bessie, but found it out through broken appointments. Talking pictures brought Bessie Love back to stardom, but what a price she paid for it! During the five weeks “Broadway Melody” was in production, she worked 18 hours & day—frequently all night, and took singing lessons too. Bessie played the ukelele, sang, danced. besides acting and speaking lines. “No one in the world would be asked to do that on the stage,” she said. “But right now the screen demands it or you don't get an opportunity. Talking | pictures have revolutionized the busi- | ness. At present, it is a little hysterical. | bit of rock. times on COLUMBIA F ST. AT 12TH DOUGLAS FAIRBANKS The g/'(;n'fl(asé' Whose Delightful accent, which proved so En- chanting in “The Wolf of Wall Street,” Is Even More Fascinating in this Latest Effort CLIVE BROOK Well-known Stage and Screem Actor remem- bered for bis Outstanding Screen Performance in “Interference” end *Underworld” NEIL HAMILTON Also Originally a Stage Star In Paramount’s All-talking Screen Version of the Cosmopolitan Magazine Story, “The Woman.Who Needed Killing,” by Margery H. Lawrence, Now Retitled “ADANGEROUS WOMAN" A Strange, Fascinating Drama of Jungle Passions e et e D ereed.| ctudio something scandalous! Recently, | But it will gradually work back to o M acionsly. she: alteady had | while working in the mew “Revue of | normal. If they get a good actress, for learned to be & good trouper, which is | Revies,” Bessie was hurt several tmes. | instance, they will try to arrange it so | the reason why she gave such a con-|In _one sequence she does an_ adagio | she won't have fo dance or be a great Vinging interpretation_ of the little ac. | dance with a group of boys who pick | opera singer. You know when we go | tress whose unselfish devotion to har | her up by the feet, throw her over their | to grand opera we shut our eyes and | sister prompts her to give up the man The Old, Old StoW transformed, according to the news ac- TRANGE as it may seem, with love of the drama a natural heri- tage, the world of drama lovers has ever displayed the strongest ® , amounting almost to supernatural fear, -to the thought of presenting in the theater, or as theater, the greatest drama of all’the story of the Christ. And whenever and where- ever the intention of presenting it has manifested itself it has met with the | bitterest opposition. And yet that por- | tion of the ple of the earth who.are | called Christian should and do, doubt- | less, hold that story inihigher regard than, perhaps, any other story that was | ever ‘told. | The objection centers around the | characterization of the Christ, which to | many amounts to a sacrilege. Not so many years 0 at most the very| thought of the thing was deemed ifl-i tolerable, and woe be to the audacious one who dared even to contemplate it. | But lhesirlt of progress has not al- ‘ways moved along conventional lines, and in its march are to be found the wrecks of many fine ideals. It really seems as if human nature will stand for anything. but the ipse dixit that forbids. Once forbid a thing, #2nd immediately rebellion breaks forth, no matter what may be the ccs And so it was but the natural order | of procedure that some one, even in the face of sacrilege, should be the first to | break down, or to ‘attempt to break down what he was pleased to term “the prejudice” against the visible presenta- | tion of the Savior in anything that savored of the accursed theater, even in the most reverential presentation of the story of His own life and mission. For ages the humble peasants of | Freiburg have reverently done this in fulfiliment of & vow to avert the plague, | #s tradition has it. But America never | cven wavered in its position until Gen. Lew Wallace’s “Ben-Hur” weakened its attitude with the beauty and nobility of the written word, which was then carried to the theater in dramatic form, although with the chief figure symbol. ized in a beam of light rather than act- | ually personified. Charles Rann Ker nedy’s “Servant in the House” and later Sir Forbes Robertson’s impressive play, | “The Third Floor Back,” delicately sug. gested rather than actually presented the actual figure of the Savior. It was the movies, in this day and generation, that took the leap, and in “The King of Kings,” reverently por-| trayed by H. B. Warner, Cecil Be De Mille, for the first time, it is believed, | actually presented Jesus in a dramatic | production. With both Mr. De Mille| and Mr. Warner the work was that of | dramatic art, aside from, yet appealing | to, religious devotion. Last Monday evening, in the City of New York, Morris Gest presented the descendants of the famous peasants of | Freiburg, men to whom the sacred roles | sequent noise and uproar, the semblance of an ancient Eastern metropolis. One | thousand people téok part in the per- | great organ. counts, to resemble a church. No spec- tator was permitted to be seated after the performance began, and no ap- plause was permitted at any time. In transforming the gaudy interior of the Hippodrome, stained glass and paint, large murals and rich banners were employed. A semblance of the City of Jerusalem was created deep in | the dim depths of the passage and run- | way. *The darkness was replaced with | the blinding light of the Orient and | palm-covered vistas to create, with sub- | formance, under the direction of David Belasco; Einar Nilson, for 20 years musical director for Max Reinhardt, | conducted the choir of 230 voices, which included the Russian choir under the | leadership of Princess Margareta Agre- neva-Slaviansky, and the hundred mu- sicians _who comprised the orchestra, while Dezzo von Antalffy was at the Drvbbed “Silver Fox," HE “Silver Fox” is going to appear | on the screen in the part that best | reveals his Life's activities. | Wha is the “Stiver Fox"? ! That's eesy. He is Richard “Skeets” | Gallagher, and he was dubbed “Silver | Fox” by & no less prominent dubber | than Will Rogers. | | | Gallagher has spent a great part of his life as a singer and dancer in musi- cal shows and he has toured vaudeville i circuits many times, It is as a song-, and-dance man that he is teamed with Jack Oakie in “Close Harmony.” He recently completed a successful season in “Lucky,” a musical production, and prior to that starred in “The City Chap,” another Broadway hit. H “Close Harmony” is an all-talking, | singing and dancing picture of back- stage life in a movie palace. Charles ‘Buddy” Rogers and Nancy Carroll have the leading romantic roles in the play. —_— Fiim Daily states that Emil Jannings | is to make three talking pictures for Paramount on his return from a vaca- tion trip to Germany, which seems to confute the reports that Jannings is| leaving Paramount. i | | { TAKOMA .27 Today at 3:00. RC. et ts. Photophone 4:53, 6:54, 8:55. To- I On Palace Stage l CHARLES IRWIN, Who plays a prominent part in “Say It With Music,” the Palace stage at- traction this week. ; Silent Films, WHILE the First National-Vitaphone | | program for the Spring and Sum- | mer includes only 100 per cent dialogue | pictures, announcement was made at the studio recently by Al Rockett, asso- ciate executive there, that the company | will continue to make a silent version of P Rockett's announcement response to many queries as to the policy of the company on its future product. “There are several reasons for our continuing the silent films, too,” Rock ett said. “One is the foreign market, | Colorful Career. i :FNGINEEE, freighter, packer, cow < puncher, stunt man, prospector, | Government mail carrier, legitimate actor, ‘screcn star—these are some of | ihe varied callings of Jack Holt, who plays the leading role in “The Dono- | Affair,” Columbia's all-talking drama. | entire career tends toward The son of a prominent iscopaiian minister, he was educated to follow his father's footsteps. How- ever, he decided a military career would be more to his liking and accordingly vas sent to the Virginia Military Insti- tute. But the Army failed to interest him as a permanent calling and he felt | a longing for adventure. The wander- | lust brought him to Alaska, where he | remained for six years, working first | as an engineer, then, in succession, | freighter, packer, prospector and Gov- | ernment_mail carrier. Holt came back | io the States, became a cow puncher | n Oregon, and then migrated to Cali- | fornia. In San Francisco he met Wil- iam Nigh, the director, who was look- ing for a stunt man for a picture he was producing at San Rafael. Holt was very much at home in the saddle and | the situation of jumping a horse over a 35-foot cliff into a river was built to | order for him. He sustained two broken !ribs, but the incident was the begin- ning of a spectacular film career. | stvely Ton: | which is still a big field for pletures. | Another is the fact that many of the | — smaller theaters in this and other | English-speaking countries are not yet ed for sound reproduction. ‘And a third and very important | \ reason is that many regular patrons of | | motion picture theaters are hard of | hearing, and cannot enjoy the dialogue pictures. We have had many messages | these people for our silent versions of | our pictures.” | Rockett explained that First National | has no intention of making any exclu- | silent pictures, nor departing from the 100 per cent dialogue rule | now established on all First National- | R Vitaphone productions. However, when these are made, silent version is also produced, with the | same director, casts and under the same | supervision as the talking pictures. —'ic Gay '90s. [ AN old-fashioned chorus, the kind | that was known as the “beef trust” | varfety in the gay '90s, will be seen and | heard in “The Careless Age,” a First| National-Vitaphone picture now in pro- | duction at the Burbank Studios. The chorus works in a sequence, howing a theatrical production, in| which Carnel Myers, who plays the fea- | tured feminine lead, sings several songs with the ensemble in the background. ‘The “chorus girls” chosen for these | scenes are past the “girl” age, and very hefty as to weight. But all have fine | voice: vine,” the theme song, and other num- bers which Miss Myers leads, are to be ' one of the high spots of the story. L The in the and the singing of “Melody Di- | \ COOLED BY REFRIGERATION at —Ce trom 11:00 | of thanks, through our exchanges, from | R NOW PLAYING A Paramount Picture ALL TALKING GENTLEMEN OF THE PRESS with WALTER HUSTON 4 Story of the Drams Benind the Headlines —ON THE STAGE— WESLEY EDDY Says Au Revgir After 75 Weeks, During FAREWELL WEEK Presenting “SAY IT WITH MUSIC" Clues Murder For the Second and Final Week The Thrilling Romance Told in Talk, Dance and Melody Against the Most Daxzling Back- ground Fuer Seen in & Picture . CHAS.“Buddy” ROGERS NANCY ng Hits, ti Newest Dance Ste, e A DD E D An-Takins “Jod's Vacation” Vitaphone Acts Pathe Sound News of the greatest of all dramas had been | handed down from generation to gener- | ation, and into whose characterizations | their daily lives of humility and piety | of Jack Donovan Are . . . LOVE BLACKMAIL | ce were woven, under the dramatic guid- ance of David Belasco, the master of the theater of his time. Violent ad- vance objections were made and even the aid of the courts was invoked to| prevent it, but the performance was | given. And, to lend the saving grace, it was given for the benefit of the French and Italian hospitals as the first of sev- eral charity performances to follow. ‘The degree of reverence surrounding the entire presentation of the “Passion Play,” as it is called, may be surmised in “MY MAN” Ts and_Singing. JESSE THEATER *™3.*J&™* “BELLAMY TRIAL.” _with LEATRICE g, COMEDY, FABLES, TOPICS. | I 1Y 2105 _Pa. Ave. Ph. W. 033 |§CIRCLE WILLIAM HAINES, | JOAN CRAWFORD. KARL DANE in ||| _""THE DUKE STEPS OU | S 1st & Rhode Tsk || SYLVAN ave e Musically Synchronized and Sound Ef- fects. “LADY OF THE PAVEMENTS. with' LUPE VELEZ. Vitaphone, Ama- from the preparations made for it and the rules adopted in connection with it. ‘The New York Hippodrome was 9thBet. F&G Film Arts Guild Presents SPECIAL ENGAGEMENT “KRASSIN; the Rescue Ship” Authentic Pictures of Rescue of Crew of Dirigible “Italia” at North Pole Children's Matinee Dally, 25c Cont. 11-11 Adm. to 12:30, 25¢ _teur_Night. 3 Wisconsin Ave. BILLIE DOVE WATCH." COMEDY. EN LESTER." n *THI “LIST! SIDNEY LUSTS HIPP K mear 9th Today-Tomorrow TELS in BEBE DAN! “WHAT A NIGHT.” LIRERTY tin conto “WINGS” With Sound and Effects. ELITE 14th and 1. Ave. GHARLES ROGERS. NANCY CARROLL ABIE'S IRISH ROSE” CAROLINA riis® ot shiomn s ®"™ “SIMBA." STANTON & ?}lARLlESR?GI:M, NAN PR S ERS in (8ynchronized.) and NEWS. 6th & C Sts. NE. Matinee 3 p.m. CY CARROLL SES IRIBH ROSE BIE'S 23 DEVORE COMEDY GREATEST SENSATION IN CARL LAEMMLE'S BICTORIAL MOVIE IRE HISTORY TONE PAGEANT MORE THRILLING RIALY =AS CHARMING AND All-Talkin JEALOUSY Prisiciize, ROBBERY Which One Holds the Soluti REVENGE GREED of the Most Baffling Mystery in the Annals of Criminology? HEAR—SEE—And Be THRILLED The DONOVAN [ AFFARR” From Owen Davis' Triumphant Stage Success JACK HOLT DOROTHY REVIER, WM. COLLIER, JR. HEAR TRY TO SOLVE The Most Baffling Mys- tery in the Annals of ’ You Will Delight In the Entertainment Offered in a MAYTIME REVUE " PATTIE MOORE & “WEE WILLIE” ROBYN 40 —FOX JA Featuring SAMMY LEWIS NANCY DECKER ZZMANIANS — 40 LEON BRUSILOFF, Conducting GEORGE SCHRECK BOBBY GILLETTE 14—GORGEOUS FOXETTES—14 And the Master of Ceremonies Unique and Extraordinary JOHN IRVING FISHER SEE AND HEAR FOX MOVIETONE NEWS or the Week Beginning Sunday. May BACLANOVA CLIVE BROOK In the Paramount Al-Talking Picture, ‘A DANGEROUS WOMAN" WEDNESDAY AND THURSDAY GEORGE SIDNEY—VERA GORDON “COHANS AND KELLYS IN ATLANTIC CITY” FRIDAY—“THE WOLF OF WALL STREET” SATURDAY—“KID GLOVES" 18(h St éofe)BASSADOR doi e AN, EMPIRE:: " 0w ww TODAY and TOMORROW-—ADOLPHE MENJOU “in “MAI d TOMORROW—BACL, ow- Lems FERRED. g AY NOVA and CLIVE BROO! - DANGEROUS WOMAN (SYN- HRONIZE! 1230 C St. N.E. TODAY and TOMORROW—AL JOL- SON in “THE JAZZ BINGER" (SYNCHRONIZED). 535 Sth St. SE. TODAY and TOMORROW—ADO] MENJOU ‘in * FERRED. Bt N. TODAY and TOMORROW-_RICHARD __RIVER" (SYNCHRONIZED) AVENUE GRAND &2 %% TODAY and TOII%RBO M. HAINES in <THE DUKE STEPS ka_ AL b St Bet. D and E TODAY and TOMORROW-—PAULINE FREDERICK. LOIS WILSON ‘and BERT L in “ON TRIAL' LPHE ARQUIS PRE- AVOY Col. Rd. N.W. TODAY-THELMA_ TODD CREIGHTON ~HALE _in FOOTPRINTS TO SATAN. = L Al — CHEVY CHASE sieR%adysi 0 TODAY_ and TOMORROW-LEA- ICE JOY in “THE BELLAMY TRIAL" "(SYNCHRONIZED). Ga. Ave. & Farragui 8L TODAY and TOMORROW-_RICHARD AR B) RIVER" (SYNOHRONIZED) TIVOL] 4t & Park Ra. Nw. TODAY and TOMORROW-—CO) al TH i D) LADY"_ (SYNCHRONIZED). YORK O Ave- & Quebes st. N.w. TRRNEE IR ONEED) P