Evening Star Newspaper, May 12, 1929, Page 51

"AMUSEMENTS. THE SUNDA Y STAR, WASHINGTO! N, D: €, MAY 12 1929—PART 4.~ ‘AMUSEMENTS.” The Moving “Picture cAlbum By Robert E CSEPH M. dent, or chairman of the board, hing equally impressive nited Artists, id that the talking picture was a rocket which would shoot upward swiftly with | a considerable pyrotechnic display. and which would come down equally swift- | 1y, with a feeble little “plop. | Mr. Schenck made that remark for . Sherwood. over for Ronald Colman, the star: Wal- | lace Smith, the scenarist, and Willlam | on Menzies, the designer of the imagined settings. Mr. Jones is, fortunately, a director | who knows absolutely nothing about the | “technique of the speaking stage.” He | grew up in the movies, starting as an | electrician in the old Keystone studio | STAGE NOTES. From Here and There AFTER playing 575 performances in New York, Ziegfeld's “Show Boat” moved to Boston with an entourage of 1 SCHENCK, the presi- | who wrote the dialogue, with a lot left | 212 people to present the work fittingly in the Massachusetts capital. The g crnor, the mayor and a lot of oth were present at ihe opening. TS ‘Ten plays current in New York have by now run 200 or more consecutive performances. “Blackbirds” heads the list with 470, “Strange Interluds next with 410, “Skidding” follows with the first time when Warner Bros. |and rising, under the tutelage of Mack | 405 and so on. Good, fair or middling were beginning to convert the Vita- [Sennett, to the lofty post of supervisor | busine: phone loud speaker into a \‘cx'imhk’i horn of plenty. He continued to say | it more and more loudly while Para- mount, Metro-Goldwyn and all (hc other producing companies were franti- cally giving in to the new menace. Finally Mr. Schenck grew tired of wait- ing for the rocket to descend and pro- ceeded with a mighty leap to catch it by the taill and to go With it for a ride. United Artists has made alking pictur bquette, and “Bulldog mmond. was a sucecss for Pickford it otherwise a unimportant offering. “All and “Bulldog Drum- mond,” however may be rated as the most i ive of all the talkies that have come forth to date. The; also the most encouraging to those of us | who persi: in the belief that audi- bility shot n 1 the | e & Both and *“ I i | three all- SR Roland West and | ectively. ! in_particular | genunine triumph | Ived in its production, moving picture; in not two or three of ion that it is no graphic a has the | action, the mobility, the exuberant | e that a melodramatic movie should | e. Remove the sound track with all its dielog from “Bulldog Dru film with subi an exceptionally effective picture, with none of the stodgy deliberateness tha would render “The Letter” or “Madame | X" unbearable in silent form. It may even be possible that “Bull- | dog Drummond” would be much better | with subtitles instead of spoken dia- logue—but that is a matter of opinion, and therefore beyond argument. The important thing is that the makers of “Bulldog Drummond” have shown_ that the makers, with. or without sound, are still independert of the stage. Holly- borrow telent and ideas from v, as it has always done in the past, but its method of expression is still ess: entirely its own. T is difficult to place the credit for the surprising excellence of “Bulldog Drummond,” but it should probably | be assigned principally to F. Richard | Jones, the direct and Sidney Howard, | of two-recl comedies. His experience | was gained in an atmosphere of bath- | ing girls. bow-legged cops, custard pies and bricks. After he departed from the Sennett lot Mr. Jones had the benefit of instruction from_another master of | the movie art, Hal Roach. Sidney Howard, on the other hand, is | a stranger in the film factories. He was not educated in the Sennett school. He went from the University of Cali- | fornia to Harvard to study the drama | under Prof. George Pierce Baker, and | vived to become the winner of the | Pulziter_prize. _ Three of his play: “They Knew What They Wanted," “The Silver Cord” and “Ned McCobb’s | Daughter,” have been Theater Guild success2: Nevertheless, Mr. Howard did not | journey to Hollywood wearing the high hat of the Broadway cramatist. He went with the idea that something | might be made out of talking pictures bosides money. He realized that it was his mission to learn from the toilers of | the studios the principles of the | movies, and not to try to teach them | the principles of the speaking stage. | With the result that the dialogue in | “Bulldog Drummond”. is terse and keenly pointed byt never obtrusive. It is humorous in & commendably effort- less way and so intelligently restrained that it never interrupts or embarrasses the action. Furthermore, the fact that this pre- posterous melodrama doesn’t take. itself seriously is never flaunted offensively in the audience’s face. It could have been entirely too funny, in the manner of a tongue-in-the-cheek revival of a uperannuated thriller, but exactly the ight balanc is acheived between ham theatricalism and satirical kidding, and this is a tribute to the delicacy of the dialogue and to the skill and grace of the performance. * kK % AS to Ronald Colman, he, in my estimation, is by all odds the best actor that the talkies have revealed. His voice and his diction are perfectly | in character with his previously estab- lished personality. When his numerous admirers hear him speak for the first time they will not be disillusioned; on the contrary, they will be moved to ex- claim gratefully: “Why, he talks just the way he looks!"” s a matter of fact, it has been proved in recent months that practi- cally all the film stars “talk just the way they look.” XKspecially Clara Bow. (Copyright, 1929 From Now On—Talkies. ERNST LUBITSCH has made his| last silent picture with the com- | pletion of the John Barrymore-Camilla | Horn film, “Eternal Love.” his tenth American production. The German | director, around whom the cult of | cinema devotees rallied in days when | deft suggestion and story-telling by the camera were new in the movie, is him- self authority for the statement that henceforth he will devote himself to talking pictures. Lubitsch likes the talkies. He thinks they will have to retain most of the tricks of the screen and that they can g0 beyond both the stage and the silent zom ‘To. the making of talking pic- res he will apply his own technique of visual movement, short sentences in dialogue, establishment by the camera of background and situations with the dialogue moving the plot along. Confronted with the challenge that his theories of cinema work eliminated sub-titles and, presumably, conversa- tion, Lubitsch was asked during a re- cent New York visit how he reconciled talking pictures with his former tech- ductions. His enthusiactic approval of | nique. “I used lip movements as panto- ime and indicated thus that dialogue | was taking place,” he countered. Even now he does not intend to eliminate suggestion by obvious dialogue. The camera will continue to tell most of the story and in its old fashion. Now, though, "stories must be adult, One | must be careful in the choice of words, and that opens the door for intelligent suggestion. ~ Mr. Lubitsch considers silent versions of talking pictures stupid, just “gaping mouths that emit no sounds. “Eternal Love” was a silent film, as | have been all of Lubitsch's former pro- | the artistic ‘and technical merits of | sound with films is regarded in Holly- | wood as significant, It was in December, 1922, that Karl K. Kitchen of the Evening World cabled the director of “Passion,” “Deception” and other successful German films ask- ing if Herr Lubitsch would be inter- ested in coming to America to direct kford picture. The answer and Herr Lubitsch followed. | Tricks of the Trade. THOSE interested in the production of motion pictures, whether spe- cials, superspecials or superproductions, all terms mcaning but little to the movie fan, have also become used to stories detailing the immense cost of this or that picture or its elements. The big fizures serve to create an awe of admiration that is very often pro-| duced with a mediocrity of fact, but it makes the knowing ones smile. India, as the result of story and of song, has come to be regarded as some- thing to astonish the imagination of mankind with its wealth of beauty and pageantry. But out from India, the land of all this wealth, beauty and incomparable pageantry, has come a picture of ro- mance woven around what many have heard is the most beautiful temple of art in the world—the famous Taj Ma- hal, the love tribute of the Emperor | Shah Jahan to his favorite wife, who | died, as all mortals must, but early in | her career, “before her time,” so to speak. It is called “Shiraz” after its| outstanding character, the man whose | brain conceived it. | More than 10,000 extras, we are told, | were utilized to people the picture, its| slave market and court scenes, Seven- ty-five camels stalked with 30 elephants in its pageantry, in which 500 rare steeds of India were a feature. The ‘Taj Mahal itself, with was appropriated by the camera, | and the entire standing army of Jaipur | was used to represent the escort of | Prince Khurran, | And yet, with all this pomp and show, | Franz Osten, the director, who is said to be one of the foremost exponents of Hindu customs and Indian cuiture, | ted to “the artificial wood,” for not a single artificial set was employed in staging | his drama, and the enormous cost of | artificial lighting effects was entirely | eliminated. = He thovght the natural beauty of India, with its magnificent | temples and gorgeous pal and espe- cially the mortuary gem of all beauty in the world, ought to suffice. And |§ HIPP Today, Tomorrow o) Tuesday MOVIETONE ACTS & SCHENCK Singing METRO VAN America's ¢ 3 < & LYNCIL all its costly | — this sacrifice, without seriously affect- ing his pictured romance, is said to have saved him countless thousands of | dollars, or their equivalent in the money of India. . Discretion Essential. ONTE BRICE, a supervisor at the Pathe Studios in Culver City, is searching assiduously for a nanny goat with discretion, the proper kind of so- prano voice and other qualifications to make her suitable for a series of talk- ing comedies based upon Hugh Wiley's character of fiction “Wilcat” Marsden. Although 12 applicants have been tried out before microphone and cam- era for this desirable job, none has yet qualified. It appears that the goats have wanted to butt when they shouldn’t and wouldn’t butt when they should. “The goat that plays ‘Lady Luck'— otherwise known as ‘Lily’,” explains Paul Powell, who is to direct the come- dies, “must possess self control. She must not let her appetite betray her into lack of discretion. Cameras and microphcnes are too costly for goat fodder.” It is whispered, also, that an odorless goat would be desirable, since Summer is coming on. 6, 6:14, 7:52 00, 7:38 and 9:1! Tou RN 6 RICHARD ‘BARTHELME in “WEARY RIVER” inging—Talking). 2105 Pa. Ave. Ph. W. 953 LEATRICE JOY. BETTY BRONSON, *THE_BELLAMY_TRIAL.” CAMEO THEATER ™ s UESDAY—THE Y (Dia. and “NEWLYWEDS and BARBARA KENT in _BOME”_COMEDY. "NO FARE! SIDNEY LUST'S | nee: ss is being done by 45 big produc- tions. Is the stage dead? will soon end its New York run. eight weeks will be needed to dismantle the steel construction in the auditorium itated by the play, which, markable as it may seem, Is to be put on tour next season by Morris Gest, presently occupied with his Hippodrome presentation of the Freiburg “Passion Play.” “Courtesan,” the new play by Irving Kaye Davis, is to have only one char- acter. O'Nelll's | short bit, “Before Breakfast,” also had but one player; several have had only two. George Bernard Shaw's latest play “The Apple Cart,” which the Theate Guild bought “sight unseen” for pres- entation next season, deals with a democratic-minded king of a century hence, who, in his desire to take an active part in the politics of his realm abdicates the throne and becomes n cabinet minister. There are women in the cabinet; also complications. American tourists in Paris will con- tinue to be provided with theatrical fare redolent of their native strand Ten plays of American authorship or presentation have served this purpos in as many months. Four different American ventures are ‘planned for | early June. Prominent among recent or current Yankee hits have been “Broadway,” _“Show _Boat,” “Ros> Marie,” Gershwin's “Tip Toes” and “The Trial of Mary Dugan.” The English Players at the Theater | Albert Premier have occupied them- York this season. French Dieces particularly _inter hich have ‘proven ting include “Melo,” by Bernstein; “L’Ennemie,” by Andre- Paul Antoine; “Departure,” at the Theater de I'Avenue, and “Topaze,” which continues at the Varieties. London playgoers continue to be in- terested by “Paris Bound.” Philip Barry's Broadway success, at the Lyric. | Edna Best and Herbert Marshal, recent- ly married, have the leading roles. The Theater Guild’s presentation of | “Porgy” and “The Little Accident,” both American works, hold well. British dramas which are meeting | include Milne’s “The Ivory e : Arts Theater; “These Few Ashes { “Rope,” the first play of 25-year-old Patrick Hamilton, a_“study in morbid | Leopold-Loeb case. Sybil Thorndike is playing the vicar's nagging wife in the London production | of Dane’s “Mariners,” which was pro- duced in New York some time ago. | Miss Thorvdike's husband and both of their chilc€n have roles. { Hits of the Budapest theatrical sea- ve been either local or of Ameri- Both “The Trial of Mary “Good News” were out- sses. “The Grey Dress,” by Countess 'Margit Bethlen, wife of Hungary’s prime minister, opened at the Vigszinhaz a few weeks ago; the newspapers did their best to sing the praises of the prominent authoress. “What Price Glory,” with its virility | ger&-nmd, has been doing well in| erlin, Glea ElipiPark: Glen Echo is now open and its every | amusement device is running full time, to the great glee of thousands of kids | any many grown-ups. Among its thrillers will be found a | ride on the coaster dip, for which one | more sweeping dip has been provided | to give an added thrill, and the aero- | plane swing, which has now 5 feet | more added to its height, making it the highest in the country, it is claimed. The old mill, skooter, midway, car- rousel and other devices all are 1929 models, and in the ballroom McWil liams and his band will hold the spot- | light this year, with an added person- | nel for dance programs that will in-| troduce novel stunts by the musicians. Admission to the park is free, and | fast and dependable service of street | cars will be provided as well as park- | ing space for automobiles. LT sy o Continued Popularity. IN© motion picture ever shown in | Australia has approached the sen- | sation caused by Al Jolson's “The Jazz | Singer,” the Warner Bros. press agent tells us. At the Lyceum Theater in Sydney, where two or three weeks is considered & long run for even the big- gest picture, “The Jazz Singer” is now completing its third month, The traf- fic situation in front of the theater, even at this late date, is said to be 50 | accute that a special cordon of police is required to handle the crowds. A cablegram states that “The Wan- dering Jew” is the first subject on the | British and foreign talker program, and that it will be followed by “Chu Chin | \ A DANCE PAUL TCHERNIKOFF, selves with “Journey’s End,” the British | Who will appear in solo dances in the recital to be given May 24 and 25 by the war play which has so gripped New | Tchernikofi-Gardiner dancers at Wardman Park Hotel. Y Lust Chain Growing. | IDNEY West of the Sidney Lust Co., | owners of & chain of motion picture theaters in this city, Maryland, Virginia | and West Virginia, announces the or- ganization of the Alexandria Amuse- ment Corporation, with W. Harmon Reed as president, to take over, Te- model and operate the Richmond and the Ingomar Theaters of Alexandria, with Mr. Lust as managing director. Under this arrangement. he states, the Alexandria theaters will have better | facilities for the selection and booking of the best pictures obtainable. includ- | ing the latest and best of the Vitaphone sound features and vaudeville presenta- | tion acts. | After its last performance last night | the Richmond Theater was closed for | extensive improvements. including the renovation of the building inside and | outside and redecoration under the supervision of David E. Bayliss. The interfor will be made to conform to | the Spanish type of architecture, and new cushioned scats of the latest pat- tern will be placed in position to make the Richmond one of the most com- fortable and up-to-date theaters in the Virginia_city. | | ~ Elaborate electrical fixtures will be installed and the front of the building will be {lluminated by a 21-foot burst -cor-cal sights. A special feature will be the stage draperies and a new | curtain, After the Richmond has been com- | pletely remodeled the corporation will start_ work immediately in preparing | the Ingomar Theater for present-day | entertainment. | Complete Repertoire. IP there’s a dance step ever invented | that Colleen Moore hasn't tried, she | | would be surprised to hear of it, for | during her screen career she has | studied every form of terpsichore, from | toe-dancing to the “Varsity Drag,” for | a dozen motion picture roles, the latest being in “Why Be Good? For this production Miss Moore learned a series of difficult steps, which | have become popular with the patrons of dance halls, her characterization in the film being that of a dance-mad | little salesgirl. The “Crazy Rhythm” and the latest variations on the “Col- legiate Stomp” and “Varsity Drag” were PROGRAM. | | mastered by Colleen Moore for this |8 picture. “Twinkletoes,” which she made sev- eral years ago; found her doing a diffi- cult toe dance, while in “Synthetic —Underwood & Underwood Photo. | Sin" she appeared in & buck and wing, Ed Arnold Arrives. JEPWARD ARNOLD, one of those | proceeded to recover his trunks and to| singular personalitics of the stock | confiscate the desired room, to the the most obstinate |amazement of the hotel clerk, who sim- if they do not |ply grinned and surrendered before the fairly adore him, blew into Washington, | Arnold onslaught. world, who mak of audiences like him, in the language of the boulevards, last | Monday to rejoin the National Players, | inquired. in the last year. all places I want to be, for the Sum- | mer. creatures the flappers call a matinee |and Fi He is perhaps too rotund, too| new play, “The Strad Mystery. " of whom he has been one off and on | since the company came into existence. | Ed is not one of those insufferable idol. mature, for concatenati that, But he is a sort of droll tive Elinor Glynn quality, “It,” and,| weeks of its working existence. clerk whom he had wired for a room serve the room. of personality, dignity, |might be supposed that jealousy had y,” drawn from De Quincy and the | deviltry, light-heartedness, mischief and | already crept out into the ranks of the youthfulness in spirit_that could | National Players. | never 'be characterized by the diminu-|associates love him as much’as his ; audiences sometimes do. | paradoxically, it has made him one of |be supposed that Director Pitt might the best liked of the entire National |look grave and have misgivings, for Player outfit in the whole nearly 100 |Arnold’s drollery has been known to | upset many serious rehearsals for Di- Characteristic of his fa‘e, Mr. Arnold |rector Clifford Brooke in past seasons. arrived to discover that his three trunks | But_even Director Pitt seeins glad to had gone astray and that the hotel|get the new recruit, and his first evi- dence of the fact is that he has as- | reservation had utterly neglected to re- ,signed him to do “dirty detective work” But he only smiled, |in “The Thief” this week. doing the Charleston and numerous ballroom steps. Irene Bordoni will go to the Pacific Coast the latter part of May to make her first picture for First National un- der the direction of Alfred Santell. LOEW’S ALAC NOW_ PLAYING “Why shouldn't T smile?” he blandly | “I haven’t had an idle day I'm here, where of And I'm already booked by Brady Wiman to open in the Fall in a With such a counter-attraction it But it hasn't, for his It might also ‘All Talking THE TRIAL OF Almost Unlucky Luck. vince the boys that they were “made” by their showing that afternoon. They have laid off hardly a week since, play- of Buck and Bubbles, the colored vaude- | ing every important vaudeville circuit ville team, was learned when the boys | in America. I.IO\V the great Afro-American game, name unnecessary, hearly nipped in the bud the theatrical careers | reported at the Pathe studios last week | to make their debut in talking pictures. |~ The story was told by Nat Nazarro, | their manager, to Paul Powell, who is | directing their first picture, “Narcissus,” | one of the Hugh Wiley “Wildcat” stories. Nazarro found the boys on Broadway, out of work and ready to quit. It was| a Saturday, and he told them that if they would sign a three-year contract | he “would have them on Broadway" in 24 hours. | ‘They signed, and Nazarro gave them | $10 with which to eat. The next day| he had them booked for a tryout at the | Sunday ‘“concert” at the Columbia Theater. They “cleaned up” the mati- nee show, and when Nazarro went to find them for the evening performance they were just going out the door. “Where are you going, Bubbles?"” Nazarro demanded of the biggest one. “Back to Louisville, boss,” was the | startling reply. | “But the show is just starting. And,| besides, you haven't got enough money to get back to Louisville.” | “Ain't we? Lookahere,” displaying | a roll of bills. “Buck and me jes’ shot | a little craps with them musicians, and | we're goin’ back to Louisville, ain't we, | Buck?” Nazarro had all he could do to co Equipped for Sound Films. "['HE LIBERTY, at 1419 South Capitol street, and the Hippodrome, at Ninth and K streets northwest, both | Sidney B. Lust theaters, it has been announced, are now equipped to pre- sent Vitaphone pictures and Vitaphone vaudeville acts. The Truxton, at North Capitol street and Florida avenue, also Chow." Clara Bow—Charles Rogers “WINGS” Musically Synchronized With Sound and Effects LIBERTY 8t Nnd™Fomoriow WARNER__VITAPHONE ALL TALKIE “ON TRIAL" 1ih and K. 1. Ave. N.W. ay-Tomoriow DOLORE: ELITE e “TRAIL OF 8" TRGiTON North Cap. and Fia. Ave. TR At Fle st th & N. C. Ave. CAROLINA ‘Uhifoke 85 nilfe T2 with DOROTHY MACKAILL, 6th_and C = STANTON Mutines, 3 Dm BOW. CHARLES ~ ROGERS, KD ARLEN, GARY COOPER LYTELL in" “ON hone Al-Talkie). RIAL" (Vitsp II6YD mAMILYON ‘CoMEDY. é’{}rl fiemm/ez’ef/,_b]zfi;nizl &arna Crori usical Hits trom RIALTO Theatr THIS MAY LAST OPPORTUNITY BE YOUR is being ecuipped for sound picture: Movielore lovel with the the Jegleld play a NINTH AT GEE. 9th, bet. F & G NO USE TALKING Washington voiced its approval of A Romance of India STAGE. SUCCESS ©ON_THE STAGE WELCOME 'HERBERT RAWLINSON Hollywood's Ambassador of Joy i a Scintillating Production when we presented it the week of April 27, and, feeling duty bound, we once more offer this entrancing 'tale of ‘the creation ‘of the Taj Mahal for the entire week of May 11 with performances cont, from 11 AM. to 11 P.M, except Sunday, When the doors openat 2 P.M. A glamorous Story of love and romance in a circus under desert skies! 'ONE STOLEN NIGHT' With Two of America’s Most Popular Stars BETTY BRONSON WM. COLLIER, Jr. The LATEST Vitaphone TALKING PICTURE nts in Pictury FOX MOVIETONE NEWS 1t Speaks for Itselfl World Eve: Sound and e William Fox Will Present a Most Fascinating Talking Picture RU DIFFERENT EYES 3 g%e*“l HEAR AND JUDGE WARNER BAXTER MARY DUNCAN EDMUND LOWE | i Various other pictures have found her |8 | period. But Hail's supreme contribu~ tion was the painting of the cu:tai MUCH has been written about his- | which: he reproduced typical ad 4 |ments of a generztion ago. torical accuracy in the films and|,g"ine curtain is visible for but the lengths to which producers will g0 ute or so, no one could possibly to guard against thos: fatal slips which | guish the printed commercial mess are pounced upon £o avidly by myriad | But- Hall's artistic soul was satisfied Iynx-eyed fans, But it remained for |and as he conducted the researches on D, Hall, art director for “Show |his own time no cne was the loser. Boat,” to achieve the utmost in “bonei insurance, it is claimed. The interior of the show boat is a Verisimilitude Plus. feature for an original Monrague, which William t Laura La Plant vital factor in the unfolding of the| Universal will be “Evidence.’ screen story, and Hall went to great |story by E. J. lengths to construct a floating theater | Wyler will dir | which would embrace ev feature of the river plaj i~ -y distinctive | about two weeks. It is to be a dialogue ouses of the picture. 4Lvoid the crowds. Obtain choice seats by aticndizg the matinees today at the Staniey-Crandall theaters E 1 I Bryg P "¢ ARLE > BELOy, £ d P AL Y ( COLLEEN I "in the First National Vitaphone Comedy Hit A wuy BE ] GOODY the Smart Set that / Ever Made Wild Whoopee!/ | . —OTHER HITS—" ON THE PROGRAM aphone comedy sketch, “Gossip™ Earle Topical Review Augmented Earle Concert h Daniel Brees- rel , kin, conducting MET The Beginning of a & New Era ingEntegainmenU FOR ANY SEAT IN THE HOUSE 11 A, M. TO 1 P. M., 25c. 1P.M.TO 6 P. M, 35e. 6 P. M. TO CLOSING, 50c. Warner Bros. and Vitaphone again regolution- ize the amusement world as surely as they did when they gave to the screen its living voice. The Metropolitan Theater this week presents the FIRST music 20 be recreated as a com: NOW PLAYING BROADWAY AT §2 CHORUS OF ° 109 116 DANGING 132 VOICES MUSICIANS GIRLS May We Suggest " Early Atten)cliancc to Avoid Crowds? i :25-2 and 9:10 ». TIVOLI HMth and Fark Rd. SUN.-MON. DAVY 8th St. and Col. Rd.” SUN..MON.-TUES. OLLE| EN MOORE In the Flaming Youth picture ‘WHY BE GOOD’ WED.-TH 3 TEXAS GUINAN in ‘QUEEN OF THE NIGHT CLUBS’ All-talking FRIDAY 1 RAMON NAVARRO in ‘THE FLYING FLEET’ SATUEDAY ‘NOISY NEIGHBORS’ LEE in ‘SONNY BOY’ TUES.-WED. CLARA BOW in ‘THE WILD PARTY’ All-talking THURS.-FRL REGINALD DENNY in ‘RED HOT SPEED’ : SATURADY BUSTER KEATON in ‘SPITE MARRIAGE’ 911 H St. NE. RROW-—-GEO. K. R ARL DANE in ALL_AT_S! HOME T 120 C St NE. TODAY and TOMORROW—RICHARD BARTY in__ “WEARY RIVER™ (S RONIZED). §ih St S.E. TODAY and TOMORROW--GEQ. K. ARTHUR and KARL DANE in § T _SEA." SAV 1ith & Col. Bd. N.W. TODAY - THOMAS ~MEIGHAN in “THE MATING._CALL. TIVOLI =& Ra N.W, AVEY SYN- TODAY and TOMORROW--D; in_“SCNNY BOY" (i GHRONIZED). “YORK °~ Ave. & Quebes B8 NoW. TOMORROW-_ WM, STEPS OUT" EMFIRE TODAY AND TOM( ARTHUR .‘EA AMBASSADOR Joi"s5 & TODAY and TOMORROW-—COLLEEN MOORE in “WHY BE GOOD?" ___(SYNCHRONIZED). 624 H St NE. end _ TOMORROW--DAVEY 1, mSONNY "BOY™ " (SYN- G615 Pa_ Ave. 8B TODAY _and TOMORROW - COR- RINE GRIFFITH in ““THE DIVINE LADY" (SYNCHRONIZED). CENTRAL ®' st Bet. p7am TODAY _and, TOMORROW — COR- RINE GRIPFITH in *“THE DIVIN LADY'"_(SYNCHRONIZED). CHEVY CHASE %85 5. TODAY and TOMORROW—RAMON N in “THE _FLYING NIZED). and TODAY and TOMORROW- RAMON NOVARRO__in_ "“THE _FLYING FLEET' (SYNCHRONIZED).