Evening Star Newspaper, May 12, 1929, Page 50

AMUSEMENTS." TF, SUNDAY STAR. WASHINGTON, D. C. MAY 12, 1929—PART 4. Flashes From the Screen By C.E Motfon Picture hearti: cord of the 8 word or two more this picture. I agree iutely no excuse for such a production. PHOTOPLAY FAN. Editor: While T am wiih of eritic HIS brings about the shat- tering of a resolution—a resolution to not again thump the typewriter on the subject of this picture, which | ie really not worth thumpiig about. The whole thing might be passed off as a literal representa- tion of a particular series of in- Tidents, a certain group of people, and if such were the case, there would be no quarrel with “Gentle- | in very discriminating, and that the | - men of the Press.” ture, however, has been infused | a symbolism of newspaper work which the average photoplay patron might consider as includ- | ing all newspaper men. Exag- . geration gees even further than in the original stage play. The assorted group of psycho- pathic subjects presented as members of “the New York press” is scarcely char- acteristic. One s given the im- | pression that they represent a “star” group from the vari- ous news-gath- ering agencies. But, would the hard headed city editors of the metropolis send their star men to interview a mausoleum-and-tombstone - man regarding a _simple press age_m' yarn? Or did these same city editors pick out the town’s chief “rummies” and send them on the job? There are numerous ques- tions of this sort. It is true that newspaper w_ork is done frequently at high tension, that the worker must be mentally and physically able to stand the pressure of long hours and nerve- wrecking situations, but there is no work that brings a man closer to the nature of life, stripped of sentiment and bunk. It is of such things that tolerance is born— out of a materialism which is combined with imagination. The writing man, somewhat un- like the man in another craft, has, down through the years, felt called upon to gather fictional characters from his own line of work. This was true with Balzac, who drew a lachrymose picture of Lucien de Rubempre writing a comic column for his newspaper while his adored one was dying on a cot 10 feet from his laboring pen. Newspaper men often ex- perience the urge to write of their craft—but very few of them turn out such plays as “Gentlemen of the Press” and “The Front Page,” which speaks well for them. The “game” has turned out a long. list of names prominent in literature —Heine, Lafcadio Hearn, Hune- ker, Shaw, Sainte-Beuve, Kipling, Ibsen and Mencken, to mention only a few—who would not recog- nize “Gentlemen of the Press.” And, not another thump on the subject. * ¥ % X 'ADVOCATES of the silent films i are being forced to admit | that the talking pictures are be- coming much better enter- tainment. There is a tendency in some manufac- turing quarters toturn out what is known as “quickies”—that is, hurried talk- ing . pictures— with the idea of coming in upon the crest of the popularity wave. But this move is being frowned upon by the reputable producers, and skilled engineers have been put to work on various ideas for steady improvement of the talk- ies. Although only a few months have passed since the advent of the dialogue and singing pic- tures, great strides have been made. From week to week, and with the exhibition of the newest ictures, one is forced to notice he improvement in synchroniza- | tion. A short time ago, all that was necessary for a talkie was that the moving picture be ac- companied by some sort of noise. If an actor talked, the picture was a talkie. If the picture had a theme song, it was a “musical version.” Now, the experts are aying attention to voices, music ?s improving, and men of ability are lending their efforts toward the perfection of the new form. The leading Broadway players have been employed by the Holly- wood producers; efforts are being made to obtain bigger and better vehicles—and the result, without 2 doubt, will be a fine synchron- ized picture. During the past week New York City played host to a convention | of the Motion Picture Engineers, | an earnest scientific body of men thoroughly interested in the de- velopment of the motion picture. These workers, little known to the big general group of photo- }J]ay patrons, are solving the prob- ems of the many branches of the picture irld\istry. * * 'AND the talkies will solve their problems, regardless of out- spoken critics of the new enter- tainment me- dium. Welford Beaton, of the little magazine, The Film Spectator, published in Los Angeles, is of the opinion that the dia- logue picture will never become a success. Last week. he said: “In order to be suc- cessful, to be profitable as a busi- ness venture, dialogue pictures would have to be gaining in pop- ularity as each month passes. The reverse is true. The com- parative peak of the dialogue pic- ture’s popularity was achieved with the first one shown. The scale has been down- ward since then, and the pictures have been becoming beétter. As a species of whistling to keep up their courage, the producers point to the box office records that are being smashed by talk- ing pictures. Such record smash- ing cannot be denied. It was the habit of so many people to go to motion picture houses every day; box offices showed that they were becoming dissatisfied with the kind of silent pictures they were getting; along came the talkies; the habit of picture-going Even More About Nothing. An Argument From the Far West. With the pic- | editor | that was| . Nelson. |persisted, and in their reach | from dull silents the shcppers for picture_entertainment flocked to the talkies, increasing the box! office receipts of the latter and! {lowering those of the competing | silent offerings.” | From this angle, Beaton’s argu- iment sounds a bit wabbly. H does not give the mcvie patron | much of a chance, practically an- | | nouncing that he will go to sce | | almost any sort of a motion pic- | ture as long as it is a motion icture, sound or silent. Wash- | meton exhibiters hand out the formation that audiences are dialogue pictures have become very popular, with a -popularity | which seems to be increasing as each day goes by. Such pictures | s “Hearts of Dixie,” Show Boat,” nterference,” “The Broadway Melody” and others have done| much to form standing lines out- | side the varicus theaters. ACCORDING to a news item from the West Coast, Joseph Schildkraut is leaving the Uni-| versal organiza- tion. A few days; ago it was re-; ported . that he had signed a long-term con- tract with Uni- versal. Ronald Col- man_ went to| New York to at- tend the premiere of his new pic- ture, “Bulldog Drummond.” “The Galloping Fish” is to be remade, with Chester Conklin and Louise Fazenda in the same featured roles. Of course, the picture will have sound, and Edward Klein will direct. “Skeets” Gallagher, well known stage star, has been signed by Paramount to appear in “Pointed Hills” and “Fast Company.” Morris Gest is said to have pur- chased the screen rights to New York's latest stage suceess, “Journey’s End.” Ii is a war stor From Theaters and Studios. ‘Son of the Gods” a story written by Rex Beach, will be Richard Barthelmess’ mext pic- ture for First National. Emil Jannings sailed a few days ago aboard the S. S. Hamburg for his old home in Germany. The complete cast of Greta Garbo’s new picture for Metro- Goldwyn-Mayer includes Niles Asther, John Mack Brown, Joel McCrea, Lane Chandler, Robert Castle, Kathlyn Williams, Dorothy Sebastian and Prince Yucca ‘Troubetskoy. Ben Lyon will play the leading role in the Fannie Hurst story, “Lummox,” which Herbert Brenon will direct for United Artists. Others in the cast are Winifred ‘Westover, Edna M hy, Myrtle Stedman, William Collier, jr., and Danny O’Shea. First National has bought the dialogue_rights to “The Gorilla.” John Boles has been signed to play the leading role in “Rio Rita,” which will be all talking and singing. Before leaving London a few days ago, Pola Negri announced that she would never make an- other picture in the United States. She is now in Paris. Already planning “The Taming of the Shrew,” Douglas Fairbanks announces that another of his projects includes a film version of “If I Were King.” Buster Keaton will play the part | of a race jockey in his next pic- ture, Edward Sedgwick will direct. Baclanova, the Russian actress, has signed a new contract with Paramount. . Her newest picture, not yet released, is “The Man I Love,” and she is supported by M%Bflan and Richard Arlen. “The Phantom cf the Opera” is another old picture which will be remade with sound during the next few months. The picture was very popular as a silent film, Lon Chanaey starring. It is also planned to remake “Under Two Flags” and “The Storm.” “Broadway Melody” has another box office record ‘Toronto. The new Colleen Moore pic- ture, “Smiling Irish Eyes,” will be opened in New York at $2 prices. Eric von Stroheim has signed to play a part in the James Cruze picture, “Big Time.” It will be a talker. “Burlesque” will have colored scenes, eight cameras being used in “shooting” the sequences. Coming Attractions. NATIONAL PLAYERS—“Pigs.” One of the plays of 1ts type to achieve distinction in the theater four or five years ago was the American comedy “Pigs” by Ann Morrison and Patterson McNutt, which will be the attraction | presented by the National Theater Players next week, beginning Monday, | May 20, in the National Theater. “Pigs” ran more than a year in New York, and has been seen in almost every | part of America. Woven into its fabric | broken | in i Colony WEEK OF MAY 12 Monday Tuesday Wednesday Thursday Photoplays at Washington Theaters This Week Friday Sunday Moore in Be Good.” Ambassad’r Colleen_Moore in “Why Be .Good.” Moors Colleen in “Why Be Good.” “Queen of ‘exas Guinan in neen of the Night Clyps. Comeds. “Vitaphone_reel. Texas Guinan_{n T the Night “Qu Comedy. Quilian | “Nolsy N Ramon Novarro 1 ““The Flying Fleet.” Vitaphone short subject. Apollo i A “Thy c: y T in Dorothy Mackaill and > Miiton Sills in ‘His Caplive Woman.” Car toon outy Boy. hone sublect. nes_comedy. Dorothy Magkaill and Milton Sills in “Ilis Captive Woman.’ rtoon. Ramon Novarro “The Flying Fleet." Synchronized sung orinno_ Griffith e Di n ne Lady.” ame. edy Ramon Novarro in, “The Flyl Synchronized song cartoon. Chester, Conklin “Taxl 13" Vitaphona subject. Tom Mix in “King Cowboy.” Comedy. " Vatiety. Vitaphonie subject. Ave. Crand LL p City. e e Voice of v p.i the Comeds. YVoice of the 2 medy. h it Comed “Manhattan Cocktall.” Comedy. “Spite Merriage.” * Comedy. "Docks of New York.” i ed Comedy. “The Kid's Clever.” ill_and Doro I in a R Tothy “Childre: - o Frederick and Bert Lytell in “On_Trial." ck Mu it Al Corinne Grifiith Central n “The Divin2 Lady." “Ramon NOVATTO R Chevy Cha. ez Fleet " “The Flving Fleet.”” Richard Barthelmess amon_Novaric “Making_the Grade. n Cartaon ““The Home Towners. Richard Barthelmess Glenn Tryon and Patsy Ruth Miller “The Marion Nixon in “Geraldine.” - in _Gate Crasher.” RO Monte Blue and "King of the Rodeo.” George K. Arthur and Karl Dane at S Joan Cramford and ‘William Haines_in eps Out. " ia. 7eei. Audrey Ferils T “Pancy Pagzage.” Blly Dooley comedy. Vitaphone_subject. George K. Karl Dan omedy. All at S Vitaphone_reel. Comedy. Joy and Bronson my_Trial." Circle . o Bell Ramon_Novarro in “The Flying TFleet.” Cameo_comedy Glenn Tryo: Barbara Ken| “Lonesome Comed Leatrice Joy and Betty Bronsos in ‘The Huntingtower.” Comedy. “Jack Holt, Chegfer Conklin and Nora n Lane in Beliamy Trial Su Pass Jean Hersholt and Phyllis Haver in “Battle of Sexes.” Comedy. Forelgn cast in Conrad Nagel in "Mo:llé:r;‘h;’mn." "Kg Glavc ” ndy. omedy. Vitaphons_eubject. oddity reel. Prench cast in Chester Conklin in “Taxi 13.” “Looping the Loop.” George K. Arthur and Karl Dane 11 “All at Sea. oadity. _Vita. Foreign cast In “Looping the Loop:* Vitaphgne subject. Seri; Jack Multall and Dorothy Mackaill in “Children of the Ritz.” Our Gang comedy. Edmund Lows Warner Baxier in ~Old_Arizona.” Comeds. Douglas MacLean and Frances Lee in “The Carnation Kid.” * Comeds. Cheltfirfi@k}kfln and elma Todd in “The Haunted House.” News. Tom Mix n “The Painted Post.” Comedy. li;baflnn 1l ot Sea. Mermaid comeds. Richard Barthelmess in Empire Home “weary River." o Krazy Kat_cartoon. re e K. Arthur and Geor av Sea.” B s _comedy. Mermaid comedy. Krazy iy Snookunis_cor. ; K._Arthur and Clara Bow in ia “The Fleet's In." ameo omedy. clez m Boyd in Lipe Velez and Willia y of the Pave~ s. al ~Junior Coghian in “Bauare Shoulders." Variety reel. Comedy. Bill Cody ‘n “Eves of the Underworld.” Aviation reel. Comedsy. a Basquette and n Weary River." Texas Guinan in ueen ‘Clubs, m Marceline Day and Douglas Fajibanks, Jr., in “The Jazz Age.” Vitaphone_subject. of the Night " Comedy. Variety _reel. Glenn Tryon 1n George K. Arthur and “The Kid's Clever. l{ln Dane in Vitaphone reel. Serial. “All at Sea.” Comedy. Oddity. _Vita._reel. ge K. Arthur and Jacaueli Dane in Se: in in Girl” “Three Week Ends.” Comedy. _ Clara Bow Ronald Co:mals n “The_Rescue.” Krazy Kai cartoon. worle. Comedy. Variety_reel Rex, the wild_horse, and Jack Perrin in “Two Outlaws.” Aviation reel. Comed: Bill Cody in “Eses of the Under- Princess u Do Savoy “Bert Lytell in Ben Lyon Snookums_c n_Trail loyd Hamil Rouse. comeds. Bic Loy comedy. Tionel Barrymore in Lif ““The Lion anc the o Mouse. Biz Boy comedy. 1el Barrymore in he Lion and the azil " - Vaudeville, Douslas Fairbanks “The Gaucho.” Vaudeville. e Vaudevile, Lupe Velez and Willlam Boyd in “Lady of the Pave~ ments.”_Cartoon. rothy Revier The “Mask of che Devil.” John_Gilbert_in Jacqueline Logan in, “Bhips of the Night," Laurel-Hardy Varlety reel. Comed: Ranger, the dog, in Junior Coghlan of the Wild." Fury Aviation reel. Comedy. Silver Seco “'Spies.” News. Comedy. Conrad Nagel in “Red Wine.” Comedy. News. Thomas Melghan in “The Mating Gall” Comedy. Marion Martin in ‘Gereldine.” Comed: Cartoon. News. “Behind the Lines.” Comedy. News. oo hard Barthelmess Rich Bl 8 Weary River. in Takoma May_McAvoy in “The Lion and the ard Barthelmess Vi & Mouse. “Napoleon’s_Barber.” “Weary River. M “The Lion an Morse.” ‘Napoleon's_Barber." Minstrel review by ay_MCAvoy 1 ‘Takoma Masonic Lodge. n d’the Minstrel show by MeCol Takoma Masonic Daughter. Lodge. Thomas Meighan in “The_Mating_Call.” Davey Lee i “Sonmy Boy vitaphone subject. Fox Movietone New William_Haines and Joan Crawford in +The Duke Steps Out. ‘Cameo comedy. Tivoli York Jo “The Davey Lee in “Sonny Bow.” Vitaphone sul Pox_Movitone New Vitaphone subjects. William_Huines and an_Crawford in Cas Clara_Bow in 0. “The Wild Party.” bject. in “The Wild Party.” Vitaphone_eubjects. Clara Bow Rewinald Denny iy d Hot Speed. Novelty reel. Vitaphony_subject. Reginald Denny 1 r Kea “Red ‘Hot Speed. Novelty ree:. ect. Vitaphone s Vitaphone _reel. amon Novarro “The Duke Steps Out."” Inkwell Imp cartoon. meo_comedy. Ramon Novarro 1 Flying Fleet” T} Inkwell Tmp cartoon. Tina Basqvetie and n Eddie Quillan in he Flyirg Fleet.” “'Show Folks." Comedy. Vita. reel. Lois “Making tl Serial. Creighton Hale in “glven _Footprints to Satan. Comedy. Vita. reel. Edmund Lowe and Moran in he Grade.” Vita. subject. Juliette Crosby Signea. JULIETI'E CROSBY is the latest im- portant addition to the cast of “Paris Bound,” the all-talking picture adapted from Philip Barry'’s stage play, which has just been put into produc- Con at the Pathe Studio in Culver City. Ann Harding is featured in the picture. | Miss Crosby in private life is Mrs. Arthur Hornblow, jr., and the sister of the Countess Caracciolo, & prominent | figure in the society of Rome, Paris, | New York and Washington. Miss Crosby has played important roles in | such Broadway productions as “The Show-Off,” “The Nest” “The Love Child,” and “Chicago.” She is the daughter of Oscar T. Crosby, who served during the Wilson administration as Assistant Secretary of the Treasury. During the war her father represented the United States Treasury Department in Europe, and! with his family made his home in Paris for 14 moenths. Mrs, Crosby and her daughters devoted much time to war work. Juliette, then a girl in her teens, did notable work as a murse's aid in the American hospital at Neuilly. After her strenuous work in wartime Paris, Miss Crosby, it was said, found the life of a “butterfly” in Washington | tame, and, braving the opposition of her family, sought an outlet for her energies on the New York stage. She made her debut in *“M: ique,” play- ing three small roles. At the height of her success she left the stage to accompany her husband to Hollywood when he allied ‘himself with the producing organization of Samuel Goldwyn. With the advent of telking pictures producers sought her for various parts. Her work in Bound” follows the completion of & role in “The Constant Wife.” SRR e Bayard Veiller Speaks. BAYARD VEILLER, suthor-directof of the talking version of “The Trial of Mary Dugan,” recently passed the following remarks anent stage and movie techniqus “Now t.h::.qI have returned to the screen to make talking pictures I am confronted with an amazing fallacy. “There are a large number of people who consider the advent of the talkies a heaven-sent opportunity for stage- trained artists. “Personally I feel that any stage dramatist who think he can make talkies before he has learned basic movie technique is just insane. “Of course the stage playwright, di- réctor or actor has certain advantages for talking pictures, but I am not so sure that the picture-trained people of the same profession won't progress faster in this new subdivision of the age-old art of expression. “I am inclined to think that the pic- ture director will learn the technique of the stage and of dialogue much more quickly than the stage director or play- wright will absorb picture technique, The technique of the screen is much more complicated. Much of the tech- nique of the stage can be put in writ- ten rules. This is not so true of the screen. Only long experience and a trained eye can tell a director when a certain lighting effect is right—and photography will always be an all im- portant part of the whole business of properly putting drama on the screen.” Guest Conductor. “Paris |, A POSE WITH HER PETS. Dorothy Janis, player with the Metro-Goldwyn-Mayer organization, and her pets, posed at the Hollywood studio. Miss Janis is not a relative of Elsie Janis. Photoplays (Continued From First Page.) garded as one of her most entertaining pietures. The story, written especially for her by Carey Wilson, deals both humorous- ly and seriously with the conflict of ideas between the present and past gen- erations. Young America, its “neck- ing,” dancing, short skirts, hip flasks and what will you, so often the subject of serious discussion by middle age, is said to be pictured just as it exists. Miss Moore is seen as an up-to-the- minute working girl, whose careless at- titude is tempered with a fund of com- mon sense, typical of the girls of today. Opposite the piquant star is Neil Hamilton, with Edward Martindel, Bo- dil Rosing, Louis Natheaux, Lincoln Stedman and John St. Polis also in the cast. “Why Be Good?” was produced by Jobn McCormick, with William A. Seit- er directing. Sound effects have been synchronized, offcring a realistic back- ground for the action. RIALTO—"Show Boat.” Having shattered all previous attend- ance records and established a precedent for extended runs at the Rialto, “Show Boat,” Carl Laemmle's movietone pro- | is the story of a small-town family and its trials and tribulations. One of the, inventoried trials of this family is | Junior, and another is an impending | mortgage hanging over the old home- | stead. Both cast their shadows over the household. Junior has two great| desires—one is to become a veterinary surgeon and the other is to get married. | With his sweetheart and partner, Junior buys a litter of pigs, just about the time that an epidemic has hit hog- | land and pork prices soar in the market | place. When Junior cashes in he pays | off the mortgage, so the young folks | are taken into the jhousehcld and| | everybody is happy. /4kere is fun ga-| lore in this comedy, fFace it sets the | ardor and eagerness ¢f youth alongside the misgivings of old sge. B N AN O Sargasso Sea Film. | THE sargasso Sea, one of the earth's | 17 few remaining enigmas, is to be the | theater of action for a_new victure | which is being filmed at First National | Studtos. | | ~'So far no one has scen the center of | | this huge floating island of seaweed cven from the air. There is a theory | | that it _contains, at ifs core. not only hundreds of derelict ships but quite pos- | ibly a colony of stranded humanbe- g5 | . This vast eddy that eventually draws | a1 flcating objects into its center, 15 to | be reproduced and fimed in an ail-star special picture, with full sound accom- { paniments and dialogue. It is being bullt over a meadow on the studio “lot.” | ~There will also be scenes on the ocean | For the studio scenes some of the old kelp harvesters who usd to get fodides and potassium for explosives during the | war have been reclaimed and put to use | lonce more, to gather tons of seaweed for, the picture, | HERBERT RAWLINSON, Well known to most movie fans, who is | gucst conductor and master of cere- monies at the Palace Theater this week. ns! st. nw., up 1 t. North 731 M STAFFORD PEMBERTON. ALL STYLES STAGE. BALLROOL DANCING Studlo, 1124 Conn, ave. Phone N. 3322. 15 "G~ Fox ‘Trot, Hop, DAVISON'S 525, ¢ (irectiy Drof. Mrs, _ lessons, . Drivate, 320 Clnss Sat. Evngs National 3341 12, Class Tues. altz, in & few any instr'n ‘at 8. “Dancing 9 W - Eves. in New Dances, Tango. Quction, combining Edna Ferber’s novel and the Florenz Ziegfeld stage show in part, will be held over for a fourth and last week. Edna Ferber's novel, an epic of its type, combining colorful humor, pathos and romance, is fairly reflected in_ the picture, the pictorial beauty of which is manifest in the river scenes, the steaming show boat, the moonlit waters | and its exciting moment, the storm. There are also the elopement, the trot- ting horse race and other emotional moments. A feast of music is blended with the unfolding of the story—bands, calliopes, banjos, along with liiting song hits and other musical gems from the Ziegfeld stage show, written by Jerome Kern and Oscar Hammerstein, 2d. The cast includes Laura La Plante as Magnolia Hawkes, Joseph Schildkraut as Gaylord Ravenel, Magnolia’s gay, debonaire gambler husband; Otis Har- lan_as Capi. Haw owner_of Cotton 2 e TUE,, MON., MAY 20 MAY 21 Camp Meigs Show Grounds looo FOREIGN FEATURES Including HUGO 2 s ZACCHINI auymg>> Tie HUMAN UL~ PROJECTILE SHOT THROUGH SPACE FROM MONSTER CANNON — SENSATION OF CENTURY | Washington [ RINGLING SRy BARNUM <BAILEY 8 to Circus, Menagerie a General Admission Seats) ADULTS 7Se; CHIL- DREN UNDER 12 YRS. 50c; GRAND STAND SEATS, Including Admission, $1.50 TO ALL. Ticket sale opens May 17 at Lansburgh Sy dre. Dept. Store and A, A."A. Mills This Week Palace; Alma Rubens as Julie, a trouper on the show boat, and Emily Fitzroy as Parthenia Ann Hawkes, mother of Mag- nolia and unrelenting custodian of the captain's possessions, actions and thoughts. LITTLE THEATER—"Shiraz.” “Shiraz,” the poetic story of the cre: tion of the Taj Mahal, acted by an all- Hindu cast, will be presented by the Film Arts Guild in a return engage- ment at the Little this week. In its first week's run here recently “Shiraz” was well on the way to break a box-office record, but cauld not be held over because of prior bookings. Produced in India by UFA and Brit- ish International, “shiraz” was di- | rected by Frank Osten, one of the fore- | most authorities on Hindu customs. In Europe the picture was called “The | Tomb of a Great Love,” and created quite & sensation. The leading parts| are portrayed by Mimansu Rai, an Ox- ford graduate, who produced and acted in “The Light of Asia”; Enakshi Rama Rao, a doctor of philosophy of the Uni- versity of Madras; Charu Roy and Seeta Devi. Fine Horses Used. SOME of the finest Arabian horses ln" ‘Western America appear in “The | Desert Song,” which marks the first| attempt to transfer an operetta In its entirety to the motion picture screen. California was searched to find horses of unusual qualities and these were used in the picture as mounts for John Boles, as the Red Shadow, and for the members of his picturesque Riff group. Scenes showing the entire troop riding madly across the Moroccan Des- ert furnish some of the most stirring moments of the play. Other magnificent horses are used as mounts for the French cavalry which rides into the mountains in search of the Red Shadow and his band. NATIONAL $1.00, 75¢ and 50c NATIONAL THEATR 4 <A REVIVAL OF CHARLES \ THE l\l The Old Glamour. THE life of show folks has long been held to be more colorful and pic- turesque than that of any other pro- fession or calling. The impression of its appeal has persisted through the centuries until the present day. The popular impression, however, is less true today than it has been for centuries. The picturesqueness continues to lin- ger about the circus and the traveling tent show, or carnival, in the popular mind, but tue glory has departed from the legitimate and vaudeville theaters. ‘The medicine show, with its “flaring torches, Indian war-whoops and its dancing girls, has been thrown into the discard. The carnival is rapidly losing its fascination to the amusement parks. ‘To find the old picturesqueness in show life, we must look abroad, to the countries still backward in their de- velopment but where the white man is encroaching on native enter- tainments. In Cairo, Tunis, Algiers and other of the North African cities and colonies the “show” of the Euro- pean is competing with native enter- tainments whose nomadic life give to this kind of “show” the color and pic- turesqueness which is so rapidly de- parting from cur own amusement enter- prises. “One Stolen Night,” the Warner Bros. picture, featuring Betty Bronson and William Collier, jr., is a_story of one of these caravans of European vaudeville entertainers who_visit the outposts of the colonies in North Af- rica. The players, consisting of danc- ing girls, acrobats, knife throwers, tum- blers, singers, animal trainers, etc., lead a gypsy sort of life. They form minia- ture governments of their own, the manager being the head of the gov- ernment. Their entertainments are crude and often vulgar, fitted for the soldiers garrisoned in the country and the natives who know a few words of French or English. They have their quarrels, the romances and their suc- cesses, and occasionally some of them make money. Most are able barely to subsist and return to Europe, where the individual members find such employ- ment as they can. But their existence while in the African colonies is pic- turesque. Color lfla Sound. TKE availability of the new Pathe- chrome process of coloring film for sound and talking movies has been proved, Pathe claims, following experi- ments recently completed in the com- pany's laboratories in Prance. ‘The first shipment of Pathechrome sound pictures has already left Prance for America, it is announced. Color is applied by machine through the me- dium of stencils which are made by hand. The company feels that color with sound films will greatly increase their attractiveness. His Nineteenth Year. LEONARD B. SCHLOSS, Managing director, who opened Glen Echo yesterday for the nineteenth con- secutive season. MAT. WED. MON. LL SEATS 50« BEG. SAAQ. Mat. 75¢c, 5&: E PLAYERY OFFER FROHMAN'S INTERNATIONAL MELO-DRAMATIC SUCCESS F Arom T REN: SEATIRAIRTE TN AMERICA BY WYRLE BELLEW NEXT WEEK SEATS NOW JOHN | Chatterton was thoughtful for a while ooy “P1GS” "AMUSEMENTS." A New Star in B YMOLLIE HERRICK. HOLLYWOOD, Calif., May 11, UT of New York comes a quiet little lady of the legitimate. ‘The core of her beauty is charm, which is more potent than the Greek nose and ox eyes of conventional pulchritude. She has not “gone Hollywood.” Ruth Chat- terton has too much poise for such childishness. She has not laid down the law to movie magnates. She has sald, simply, “I know nothing about your movies, but may I tell you some- thing of the stage angle on this pic- ture?” And it is safe to say that no woman coming into Hollywood has had more respectful hearing from the brains of this profession. The net result has gone far to determine the success of her talking pictures. ‘Working with Lionel Barrymore on this basis, there has been turned out one of the finest products of the new art. Because of these things, I asked Ruth Chatterton, when we had a quiet hour together, what was to become of the purely movie girl. For it is interest- ing to conjecture the future of these beauties who have been concerned only with the hairdresser, the masseuse and the fencing master, and to speculate whether or not their careers will crum- ble before the onslaught of talk. Miss before she answered. “Most of them' are young enough,” she sald, “to begin at the beginning and to learn all the things we of the stage have had to learn. Beauty—no matter what may be sald to the con- trary—is an asset, provided there is a modicum of talent to back it up. “The time element will be the main difficulty. Things have happened so quickly for most of these girls. They have worked as extras for a year or two. Then they have jumped into the three or four hundred dollars a week class. They have not gone through the heart- breaking grind of the walk-ons, the years of stock work, the slow unfold- ment which the successful artist of the theater must experience.” Ruth Chatterton with her soft, brown hair, natural face and exquisite patrician simplicity of dress is a para- dox in dizzy Hollywood. The paradox is more astounding because of the fact that this low-voiced, unassuming little lady of the footlights came quietly into movieland and absorbed the mysteries of the new art of movie making in such a facile manner that she now stands at the apex of the movie pyramid. Her talkle technique is impeccable. The most hardened directors admit that her Movie World . most recent venture will make history. The see-saw of success is inexorable. ‘When types such as this swing up, their opposites must, of necessity, go under. And when one’ searches for an answer to the sad and puzzling question of the future of Hollywood's beauties, Ruth Chatterton’s theory of the survival of the fittest seems the only possible *"Miss Chattert Miss Chat on is building a home in Hollywood, Beverly, to beg!xlck 8he is combing, in odd moments, the an- tique shops of Pasadena. And quite frankly she admits that this is the first time in her life she has been able to afford the sort of things she wants, Her career as a successful artist of the stage has not brought in the in- come many movie mediocrities have been able to make. She came up througli lean years, years when she and her mother lived in a little room in West Forty-fifth street, New York—a room for which they paid $6 a week. Diner from a delicatessen store around the corner included such luxuries as the remaining $10 a week would permit. All that, Ruth Chatterton tells me, is a joyous part of a career. The surety of fame in the future makes a slice of roast beef and 10 cents worth of mashed potatoes shared with your ;noglher in a back room fare for the s. ‘The long years of stock compan: grind at $50 a week are what dewn")nlmg your fiber, Out of that 50, perhaps, three or four gowns must be bought. And in between playing this week's role and learning next week’s lines were sandwiched French, the piano and voice culture. This is the background of the new type sweeping movieland. Ruth Chatterton’s husband, Ralph Forbes. is of the theater and the movies also. The new art which is developing here will permit its stars seven months of intense work and an interval for traveling. Most of the contracts made in Holly- wood are framed along these lines. Beauties from foreign lands have come here and ruled bizarrely; imperi- ously demanded outrageous homage and outlandish salaries; have held colorful court and passed on with the steady march of the gelatine Moloch into com- plete oblivion. ‘Then from New York comes this quiet little lady of the legitimate, the core of whose beauty is charm. She is begin- ning to make gelatine history in this first period following the revolution. Each day the studio guillotine falls and some famous head rolls into the basket of yesterday. Ruth Chatterton is the new type of favorite. (Copyright, 1929, by North American News- paper Alllance.) Gardner and Shaw. 'ALKING pictures, which have been | responsible recently for eminent Eastward transatlantic pass- ages, have attracted another stage and | screen actor in Europe to America in | I¥ the person of Shavie Gardner. He was cast by George Bernard Shaw in “St. Joan,” by John Barrymore in his Lon- | don “Hamlet” and by Rex Ingram in “Three Passions,” the film turned out at Nice. Mr. Gardner is en route to Hollywood. This is his first visit to America in two years. In 1899 Mr. Gardner, a native of Aukland, New Zealand, sold newspa- pers on the streets of San Jose, Calif. He was then 9 years old, and was stranded in that city. When he was 11 he left the United States, working his | way on the steamship Sierra as a pan- try boy to New Zealand. Since then he has been around the world four times, he has acted on the stages of Paris and London and New York, he has come to know George Bernard Shaw quite well, he has made films in France, Germany and England, and he has played on the stage with Sir Her- bert Beerbohm-Tree, Lady Forbes-Rob- ertson, Mrs. Patrick Campbell, Henry Ainley, Irene Vanbrugh and others. A massive figure, he is 6 feet 3 inches tall and weighs more than 200 pounds. He prides himself on being an adventurer. He went to Nice on a gamble and be- came a principal in “Three Passions.” Shaw cast Shayle Gardner as Robert de Baudricourt in “St. Joan.” The playwright had first met the actor years before, when Gardner was a stu- dent in the Royal Academy of Dra- matic Art, conducted by Sir Herbert Tree. Shaw then coached Gardner in the role that Sir Herbert acted in “Pyg- malion,” the Shaw play. When “St. Joan” was in rehearsal Gardner was supposed to make a speech to Sybil Thorndike, who played Joan: “I don't know.” Shaw thought that Gardner had not achieved the proper intonation on the words, and although the Irish- man had sat quietly through the re-| hearsals, never losing his temper, he now interrupted. “Say, Gardner, are you married?” “Why—er—no, Mr.. Shaw.” “I knew it. If you were, you'd know how to say ‘I don't know'!” ‘While “Three Passions” was being filmed at Nice, Shaw spent a day at| the studio. Alastair Mackintosh, the | production manager, told Shaw that a film director named Rex In Was anxious to meet him; that this direc- Next Week's Photoplays. FOX—Mary Duncan, War- ner Baxter and Edmund Lowe, in the Movietone picture, “Through Dif- ferent Eyes.” PALACE—John Barrymore, in the United Artists several | ! sound production, “Eter- nal Love,” with Camilla Horn. COLUMBIA (Possibly) ’ Mary Pickford, in “Co- | quette,” a United Artists’ production. LITTLE THEATER—“Ad- ventures of Maya, the Bee,” with an-“all-insect” cast, including a beetle, a bee and a spider, adapted from Waldemar Bonsel's story of “Maya.” 77, tor greatly admired Shaw, and that, ike him, he was an Irishman. “Oh, no; he can’t be an Irishman,” said Shaw, “because there can't be an Irishman alive who admires another ishman!” -— “Potash and Perlmutter,” Montague Glass’ comedy of Jewish New York business men. was recently presented in German in New York. Abe Potash be- came gfried Potasch” and the “Mawruss” in Perlmutter's name was changed to “Moritz.” MISS HAWKE Presents ' Her Plblll.ln Dance Recital Saturday Evening, May 18th At 8:15 O'clock Wardman Park Theater Tickets, 1.00, 150, 2.00—Now . Qi st ynone North sots " MRS. WILSON-SREENE'S CONCERTS POLI'S THEATER—4130 Season 1929-30. Philharmonic Course Nov.26. ROLAND HAYES Celebrated Colored Tenor Dec. 6. FRITZ KREISLER Feb.11. OQTERO Marvelous New Coloraturs Feb. 19. ROSA PONSELLE Met. Opera Soprane. Mar. 19. RACHMANINOF! Artist’s Course Nov.4. VLADIMIR HOROWITZ t the Rising “Greatest Piani Gene: Nov.19. “LA ARGENTINA” Spain's Greatest Dancer Jan.13. LUCREZIA BORI Soprano, Met. Opera BOSTON SYMPHONY ORCHESTRA Serze Koussevitzky, Conductor (Only Washington Concert) Feb.28. BENIAMINO GIGLI Tenor Met. Opera. Feb. 4. Wilson-Greene Series A Popular-Priced Serles of Six Evening Concerts by Famous Artists at New Constitution Hall, 18th & D Sts. NW. 8:30 p. m. Date to Be Announeed) « JOHN McCORMAC Famous Irish Tenor Dec.11. BOSTON WOMEN'S SYMPHONY ORCH. With that most dynamic of all ts and conduet "ETHEL LEGIN; Playing her own concerte san11.” SIGRID ONEGIN World's Greatest Contralte Jan.25. JASCHA HEIFETZ Vielinist ROSA RAISA and GIACOMO RIMINI Leading Soprame and_ Barit Opera Company. in an opess Mar. 8. LOUISE HOMER ‘World-Famous Contralte AND HER DAUGHTERS Orders now filing, Mrs. Greene's : 1300 G St. M. 6493. R Feb. 8. FREE ADMISSION AMUSEMENT PARK NOW OPEN FOR THE SEASCN WITH ITS MANY NEW FEATURES AND MORE THAN FIFTY ATTRACTIONS INVITES THE KIDDIES TO SPEND MOTHER’S DAY TODAY CLEAN, WHOLESOME, CHASTE FUN WASHINGTON RAILWAY & ELECTRIC CARS MARKED CABIN JOHN OR GLEN ECHO' EVERY FEW MINUTES FROM TOWN TAKE YOU DIRECT TO PARK AUTO ROUTE VIA CONDUIT ROAD LIMITED AREA FOR PAID PARKING AND LOTS OF FREE PARKING SPACE