Evening Star Newspaper, May 20, 1929, Page 22

po1 HEART ATTACKS 2 eaused byaccumulation of gasare dan- 1 2. gerous. Consult a physician at once. A0 DR. SIEGERT'S Same formuia since 1624 Autocrat Motor Oil has a high fire test, indicating ability to withstand heat. Nothing is more important. than thorough lubrication. AUTOCRAT--THE OIL THAT 1§ DIFFERENT FROM ALL OTHERS Beware of Substitutes. Bayerson Oil Works Columbia 5228 BLAZED YOUR TRAIL TO THE NORTH- _WEST EMPIRE ERENDRYE, the “Knightly Explorer” and those other gallant Voyageurs whose “Trails of Empire” were followed by James J. Hill when he built his Great Northern Railway over the Historic Highway taken by trader, voyageur, soldier, and priest on their way to the Pa- cific past Glacier National Park and many other vacationlands. ‘The low round trip fares via the interesting river-course route of the Great Northern make it inexpensive for you to visit Glacier and Waterton Lakes National Parks, Rainier Na- tional Park and the new Mt Baker National Forest. Liberal stop-overs at Spokane, Seattle, Tacoma, Portland. Free side trip to storied Vancouver, B. C, CARE-FREE VACATIONS Ask about our All-Expense Escorted Tours to Glacier Park, the Pacific Northwest, Alaska. They assure care-free vacations, For further information write FDMUND H. WHITLOCK District Passenger Agent 804 Finance Bidg., Philadelphia, Pa. Phone Rittenhouse 32 fune in on the Great Northern Railway “Fmpire Builders” hroadcast e very Monday, 9:30 P.M. Eastern Standard | audiences COLUMBIA—"Coquette.” “America’s Sweetheart” gives evidence in her latest work of no intention of relinquishing the title, though she has bobbed her hair, admitted sex as a fact and gone in for talkies. “Coguette,” Mary Pickford's audible version of the vehicle that served Helen Hayes 50 | handsomely on the stage, is showing at {the Columbia this week. Early audi- ences were pleased with the picture, and | many persons are apt to visit it if oniy ! ut of sheer curiosity. | *Miss Pickford's share in this work. which is, of course, the lion's ghare, is in all honesty not likely to detract from her popularity. If she does ot burst |on the public—as she had evidently hoped—as a dynamic dramatic star, | she does at least give unmistakable sign 1ot “dramatic talent over and sbove tne | mere poise and assurance which she | has always had. This characterization lof the little Southern girl is, for the | most part, a flexible, bellevable plec of theater. The Pickford voice is good the Pickford dramatic temperament is apparently a sincere one. | | It takes & good many sequences of | Southern gallantry (full of “suh” and | “hah honah” and “mah dotah’s honah," | all in the most studiously correct inflec- | tion) and a modern counterpart of the | graceful antebellum days, to get to the real emotional feeling of the play. | When ‘the time comes for Miss Pickford [to let loose, she does so with gusto, | obviously with honest ~determination. { but over-shooting the mark of convic- | tion, not only reaching the heights but rampaging beyond them, as it were. Certain_ unfortunate changes in the original story have weakened this “Coquette.” The loyalties have been shifted and sugared at the cost of | arematic power, though the sum total | of casualties remains the same. It was | all clearly done for Mary and for Mars |debut as' a talking sweetheart. Those [ who relish their Pickford in generous portions will not mind. | John Mack Brown, playing Michael | opposite the star, and John St. Polis, s the father, are ‘splendidiy cast. Mat Moore contributes. Janet Coon whistles and sings the picture’s theme song pleasantly and to enthusiastic applause. Two Movietone | features, news reels and & bright and | Y;:-fiushll comedy round out the screen | | THE FOX—"Through Different Fyes." “Through Different Eyes,” another of at the Fox in through several reels of testimony and | legal word battles, this week. Mary ' Duncan, an actress of the legitimate stage, adds to her laurels in this her debut picture by her splendid acting, | her beauty and her voice, which reg- isters very well. Co-starring with Miss Duncan are Warner Baxter and Ed- mond Lowe. who achieved popularity in In Old Arizona.” It is quite a jump from a romantic and adventuresome caballero, with a decided Portuguese accent to an artist, and from a debonair soldier of the Southwest border to a sophisticated New Yorker, but Warner Baxter and Edmond Lowe assume their new charaters with an ease and finish of which only such artists are capable. | o The construction of the plot of ‘Through Different Eyes” is rather un- usual. The evidence of the murder is | constructed into three complete cases, leading to three different solutions, which is sn interesting reflection on the unreliability of circumstantial evi- dence and personal testimony. Each of these cases is presented to the jury, first through the eyes of the defense second, through the eyes of the prose- cuting attorney, which is the anthithesis of the first, and third, through the eyes of one who really knew what hap- pened. There is another pair of eyes— the eyes of the press—that keep & close account of the proceedings of the trial. Each time a case is presented through different eyes the persons involved as- sume entirely different personalities until one is almost at loss to know which can be true. John Irving Fisher, master of cere- monies, offers one piano selection and & new Spring outfit. Horton Spurr, a human jumping jack, gives an_enter- taining slow-motion pantomime of a beginner at golf. George Griffith and Mme. Rossette dance and sing. El Cleve plays the zylophone in & nonchalant manner and jokes a bit. Sally and Pep do quite a sensational adagio dance. Patricia O'Connel sings two popular numbers. The usual colorful chorus, | dancing of the Foxtettes and the companying music of the Jazzmanians completes the stage presentation. The Vitaphone features consist of a group of Negro jubiless singers the fashion news and the usual Fox news reel. PALACE—"Eternai Love.” John Barrymore and Camilla Horn, abetted by several underlings, have aid- ed Ernst Lubitsch, a justly renowned di- rector, in his farewell to the silent scresn in the form of a Swiss romance called “Eternal Love,” at the Palace this week. It shows Mr. Barrymore as a precipice-vaulting hunter, the wild boy of his village, more of a numbskull than he has permitted himself to be pictured since “The Beloved Rogue.” The story i that of a recalcitrant youth, in love with the chaste Ciglia, | niece “of the village priest. On the threshold of their afflancement the boy is trapped into marriage by the wiles, of a designing hoyden, and Ciglia in turn marries her second choice. Enter suspicion, jealousy, a love that will not die. murder of Ciglia’s husband and final expiation in the form of the origi- nal lovers’ suicide beneath an ava- lanche. | Barrymore is not quite genuine in his role; it is pictorial and suave and thea- trically correct, but his work fails to dissipate the skepticism that assails his portrayal of a part not in his tradition. Taking the vehicle upon his own shoul- | ders, rather than letting it carry him, | he has sagged under the load. Camilla Horn is pretty and plays es- pably. Mona Rico as the temptress and | Victor Varconi as the husband act up ' to Barrymore properly. Lubitsch has | directed splendidly, and much of the | photography is unusually fine. The stage show had not found its' stride when this reviewer saw it early & Saturday. but it had the elements of | an agreeable revue if the tempo quick- } | ened later on. The Luster Brothers. | gentlemen with “rubber bones: Julia Parker and Spoor Parsons. in the doll { scene from “Tales of Hoffman”; Sybil Fagen and Henry Mack. whistlers and singers; the Caites Brothers, intermi- | nably correct tap dancers, and the Fos- | ter Girls_ensemble make up the units Herbert Rawlinson, as master of cere- | monies, seems to be feeling at home and he gives a much-applauded satfrical bit | on_the Dempsey-Tunney fight. The screen half of the program in- cludes &n “Our Gang” comedy and the customary news reels. The orchestra, under Mr. Borges, illuminates the name of Lindbergh with a melodic pot-pourr EARLE—"“Saturday's Children.” Tt seems unfortunate that such a | splendid play as Maxwell Anderson's/ | “Saturday’s Children” should have re- ceived such an apparently hurried 50-50 THE EVHNING STAR. “WASHINGTON. D. €. MONDAY. MAY 20. 1929. OPENING ATTRACTIONS IN WASHINGTON THEATERS | quate, especially Charles Lane as | Bobby's father. There is musical synchronization throughout the film. bui the dialogue sequences are interspersed by frequent and lengthy silent gaps, lending a patched effect. The essence of “Sat- turday’'s Children” is unmistakably pres. ent in the film version. but the quality that won for it the Puliizer prize seems somehow to have stolen away or perhaps just fallen to the cutting room floor. If one did not see the play he will probably enjoy the picture. ‘The subsidiaries consist of the usual Earle Topical Review and a Vitaphone talkie short called “When Julius Caesar Ran a Newspaper.” in which Edward Everett Horton and Sam Hardy, as the great Roman and Marc Anthony, re- spectively, work desperately for the laughs. RIALTO—"Syncopation.” Waring's Pennsylvanians are much more effective when they appear in per- | son as & musical feature of & program than when they are incorporated as s part of & sound film, in which role they are seen s’ week at the Rialto Thea Perhaps 1t is because the recording device w: 50 well when “Syncopation” was made as in some of the other jazz-melody | stories which have found their way to the screen since the “talkies” have be- | come popular. Barbara Bennett, dancer, and daugh- ter of Richard Bennett. well known siage star, has the leading role in the | play, which revolves around her danc- | ing act with her partner-husband, | “Benny,” played by Bobby Watson, | These two entertain with some skillful | baliroom dances, executed a la Barbara | 3 as the feature number on & Broadway night club program. Miss Bennett'’s dancing is far better than her acting. The Pennsylvanians, of course, do their stuff at the night club, | too, scene: A split-up in the team of Darrel & | Sloan Tesults from the ambitions of the young wife “Flo” to “get somewhere” in the world, and her husband’s appar- ent, satisfaction with things as they are. The pair have been engaged to dance at the nigit club, owned by a young ciub man, whose fancy has been caught by the grace of Flo. Business acquaint- ance ripens into friendship between the two, and Winship (played by Ian Hunt- er) convinces her that Benny is not the man for her. Separation follows and Flo, believing herself on the road to nd are at their best in these not working | | cepts some handsome gifts from her | “flance.” down—the ~partner, | floor in the midst Winship later in t reveals his plans for their future life Benny suddenly looks pretty good to the socially ambitious little dancer, and he. being one of those chaps who keep right on loving 'em, welcomes her with open arms. And thus ends the tale. Interjected into the play at intervals are several solo numbers, by Morton Downey, lyric tenor protege of Paul Whiteman, which include “I'll Always Love You” and “Jericho.” Mr. Downey and Dorothy Lee, the “dumbbell of the show, sing “Do, Do Something,” ef- fectivel: Additional features include a talking comedy, “House Cleaning.” an Inter- national News Reel and a cartoon with sound, “Stripes and Stars.” literally, on the METROPOLITAN—"“The Desert Son Not content with “stealing thunder” from several dramatic successes of the legitimate stage, the “talkies” have in- vaded the province of musical comedy and in “The Desert Song” give promise | of just how far they will go in this new field. In comparison with the mu- sical play as originally performed, the picture holds up remarkably well and has in addition the advantage of a more colorful and varied setting. Nor have the falkies translated the original into a “throbbingly passionate drama of the desert sands.” but they have with excellent judgment kept the musical comedy spirit throughout. Here is no attempt at heavy emoting, no effort to cloak the thing in the usual | movie realism. The actors never forget that this is musical comedy, and yet the effect is only natural, when every great moment calls for a song. and the situ- | ation itself has that touch of delightful implausibility which seems & part of the heritage of successful musical shows. | Despite the magnificent desert scenes, most of the sets are constructed on | the glitteringly lavish lines of musical and there are dancing girls, choruses and all the colorful trappings of the original. Romberg's brilliant musical score is used in its entirety, and this is the real reason for the success of “The Desert Song. John Boles scores a genuine triumph in the dual-role lead of the piece. Car- lotta King of the original stage cast sings beautifully. Myrna Loy is wild and strange in her dancing-girl role and Louise Fazenda and Johnny Arthur do a comedy act that is a feature in itself. LITTLE THEATER—“The Life of Bee- thoven.” A picturization of some of the most | the murder trials that have been be- | matrimony with her wealthy admirer, climatic episodes in the life of Bee- of annoying. itching skin irritations. sleging Washington lately, is keeping consents to dance at his new club with | thoven, showing at present at the Little | Have relief with one application. suspense, & new partner, and she incidentally ac- ' Theater, manages to be impressive in | 60c and $1.00. All dealers. Both of these boys let her | composer as a man, the whole mean- |stars. ing of whose life centers upon his deafness. One remembers stories of the blind Miiton. of Dean Swift, of Heine in a wheelchair at 25. None was more poignant than Becthoven, sensitive as he was, so purely devoted to his work. | _ It one chooses by logic to consider Beethoven, in the faflure of his ro- mantic life, the victim of his own in- ability to distinguish his art from his heart or to harmonize them success- | fully, one may see the point well illus- trated by this film, for it shows the master as a man frustrated by in- | decision rather than by external cir- cumstances. This indecision is portray- | ed not by incidents of wracking passion, | but as a slow-moving. inexorable slav- | ery to music, from which he_is unable | io escape even for love. 1f Beethoven | was the loser, it was posterity’s gain. | Other features on the Little Theater's bill include a Swiss travel film, excei- lent news reels, and a Max Davidson comedy. The trio lends ltself agreeably to Beethoven music to supplement the | spirit of the film | STRAND—' A new version of the old story, con- cerning the rise of one-half of ‘a bur- | lesque team from obscurity to fame on | Broadway 1s the theme of “Molly and Me,” the first of a series of all-talkies to be shown at the Strand Theater un- der a new policy. | Belle Bennett and Joe E. Brown, &s husband and wife, have been doing an | act in small-time burlesque for 10 years, always with the dream that they will some time make Broadway. On the CLAFLIN Optician—Optometrist 922 14th St. N.W. Depend on Zemo To Stop Itch ‘Molly and Me.” Use soothing, healing, invisible Zemo | for that jtching torture, caused by mosquito or . insect bites, sunburn, prickly heat, poison ivy or Summer rash. This clean, reliabie family anti- septic promptly stops itching and draws | the heat and sting out of the skin.| ZEMO has been used for twenty years with remarkable success for all forms 35¢, WoobpwAaRrD & LoTHROP 10™ 1™ F axp G STrREETS « These are the white shoe fashions for Summer—in styles for every occasion in a Summer’s day. White is increasingly important because of the vogue of suntan and pastel —with which white is smartest. Sketched White ki novel strap and cutout at side. Spanish heels, $13.50. White kid pumps, from Laird, Schober & Co., trimmed Cuban heels, $16.50. White kid oxfords, with smart cu planned ban heels, $13.50. " Six Smart Models d pump, with Center-stra Co., of white li: kid, $20. With high with silk kid; the instep, $12. touts, cleverly for chic; Cu- with enamel bu WOMEN'S SHOES TrIRD FLOOR. Suntan Hose White kid pump, trim- med with white silk kid, fastens over instep Not Sketched p pump, from Laird, Schober & zard and Center-buckle strap pump of white with enamel buckle at kid, 50. ckle, $10. to wear with white pumps Suntan hose is the smartest shade to wear this Summer—particularly with white, They are approached by the | manager of the “Frolics.” with a con- of the dance, and | music, ultimately the victim of the most | tract which calls only for the services he evening when he pathetic tragedy that could befall him, jof Jim. Jim will not sign up without | Molly, but his wife urges him to accept without her. He makes quite a hit in his debut on Brondway with Peggy Mc- Coy (Alberta Vaughn) as his new part- ner. From then on Jim's attentions | turn from Molly to Peggy McCoy and { Molly begins to realize that she is oniy accompany Jim to Broadway. On her | departure Jim shows no sorrow, for he thinks that he is in love with his new partner. But he is mistaken. Know- ing the town in which Molly is playing, he hastens there, and arrives just in ime to furnish his part in the act which they used to do together. All ends happily. Although Belle Bennett, who is ad- vortised as the star, furns in an excel- T 7 spite of & torpid pace. We see the great !mll-dme circuit they are considered | the road show that she had forsaken to more to enliven the show. The former legitimate actor carves a niche for him- self in the new field of the talkies with his well rendered “In the Land of Make Believe.” the theme song of the picture, and his clever comedy. The idea of some efficiency expert was prevalent in Paramount’s all-talkic entitled “Just One Word,” in which characters. although speaking just on~ manager of the “Frolics” with a con- a collegiate comedy wers the remaining | excess baggage. She decides to re-enter 'lent performance, Joe Brown does far supplementaries. 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Corinne Griffith, whose artistry is well established and whose beauty is ever delightful, seems to regal for her role | of the poor but loving stenographer, Bobby. _ However, Miss Griffith has | caught the spirit of her characterization and given it a_sincerity through her speech. Grant Withers, a comparative newcomer, fits nicely into the Jim | O'Nefll part, hoth in word and action Others in the t are decldedly ade- because of its chic contrast. Suntan shades may be had in these wanted styles of hose. $1 e street Flat Crepe Printed Georgette Miraglo (Silk-and 39-inch Flat Crepe in all shades for Summer dresses. Georgette in the prints that fashion such lovely aiternoon and evening irocks. Miraglo in all shades and prints. 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