Evening Star Newspaper, June 2, 1929, Page 58

AMU Flashes Fro By C.E HERE was a day, not so many years ago, when the Summer season was the “dead season” in Washing- ton theatricals. New York was about the only city in the country where Summer shows were pop- ular—and then, largely with out- of-town folk who crowded to the metropolis for vacations. ~The New Yorkers, as a rule, did not atronize their theaters during he heated menths. Certain light musical ows, twith here and there a stock company, drew the visitors, All this has changed with the coming of the photoplay, and at the end of the present Summer, it is likely that Washington exhibi-| tors will find this the biggest of Summers from the box office stand- point. Of course, theater condi tions changed, way. Modern invention, as re-| gards theater comfort, has aided materially. The thoroughly equip- | ped photoplay house is now cooled | artificially; special arranagement| is made for the comfort of pa-| trons; as a rule, the inside of the| theater is_cooler than the street | outside. Going to the theater in the Summer no longer holds the terror that it once did. And then, the class of entertainment has changed. Steve Cochran and his National Players, regardless of the| weather, show that they can draw | big audiences—audiences that| forget entirely whether the ther-| mometer is threatening to explode under the sun’s rays. The motion | icture palaces, as long &s they, fiecp up the quality of their ex- hibitions, have found that the season makes little difference. The “dead season” is a thing of the past. The, photoplay has, changed all that. And the syn- chronized picture — something really new—will swell the box office receipts during June, July and August. Scveral big pictures are scheduled for Washington production during the Summer, and in the old days, these would | have been held over to get the early Fall crowds. All this comes to mind after attempting to pur- chase a ticket and get inside one of the F street palaces around about 7:30 in the evening. * K Kk ‘A MONG the pictures listed for Summer exhibition are Cor- inne Griffith in “Prisoners,” a new musical film with “the high-hat- ted tragedian of jazz.” Ted Lewis; “Bulldog Drummond William Haines, “The Gob,” Eleanor Boardman, in “She Goes to War”; | Jules Bledsoe, in “Old Man| Trouble”; Frank Crumit, in “The | Gay Caballero”; Mary Brian, Richard Arlen and Baclanova, in “The Man I Love”; Eddie Dowl- ing's “Rainbow Man,” Adolphe Menjou, in “The Concert”; George Bancroft, in “Thunderbolt”; Rich- ard Dix, in “The Wheel of Life"”; No More Theatrical “Dead Seasons.” | Dclores Costello, in “Madonna of Avenue A"; Alice Joyce, in “The Squall” and several all-music revue_similar to the Fox “Movie- tone Follies.” The latter is ideal warm weather entertainment, and ictures of the kind will probably ecome very popular. * ok % ® 'HE producers cf Hollywood and vicinity, now working prin- cipally upon talking pictures, will have their troubles with the cen- sors of foreign countries, to- gether with the American State censors, county censors, munici- pal censors and community cen- sors. A great| deal of the profit of a suc- cessful picture comes from its ex- hibition in other countries. Here- tofore, all the producer had to do was to change the written cap- tions into the language of the country where the film was being exhibifed. Now, with the talkies, trouble confronts the producer when he sends his pictures abroad. From London comes the warning that American producers must be diplomatic and careful in their work. For instance, they “must avoid introducing words or in- cidents, which past experiences have shown are unacceptable to Britain.” Chief objection is voiced by the censor against “travesty and mockery of Biblical characters, reference to the Prince of Wales, white men in a state of degradation amid Far Eastern and native surroundings, officers in British uniform in a disgraceful light, girls and women in a state o? intoxication and orgy scenes.” All these come under the ban of the British censors. In London, the censors viewed 1,947 American ictures during the past year, and 05 were drasticallv altered. Eight were rejected. France, Germany and the other countries have their censors, some of them more strict than others, and yet this is really only & minor trouble of the producers. Now, with the talkies, all the Changing Talkies to Fit All Nations. “noise” must be changed to fit the | newed his contract with First Na- | sets of ! tional. He will appear in four pic- \‘ warious countries—new talkers in the studios for France, Germany, Russia, etc. At just about this point the average pro- ducer is declaring himself for a universal language; he would not care especially what the language was, just so it would be under- stood by the movie patrons all over the civilized globe. * ok ok ox THE Berlin producers announce that only about 25 per cent of the German pictures are being made with dialogue. Nearly all of the sound equipment, for studio and theater, is coming from this side of the Atlantic, the important PRIVATE 5. Class dance Fri 1636_16th o Fox Trot, Hop, Wallz, taught cofrectly In & few lessons, private, $ny hour, Class v instrin at 8. Dancing, . Class Tuesday evening. Latest eteps. 2 MISS GIRARDEAU L Five private Tessons. s5: eingle. 51 ‘ox Trot, Waltz, Hop “Class instin, i to 11. i orchestr Studio, 2035 P North MRS. MAE DAVIDSON All forms of Stage and Ballzoom Denct Acrobatic, Limbering, Tap Roytines, Cia L Eaenstine and tangoh Nation £ miidio, 1975 M n-w. at Thomas Cirel | plays,” SEMENTS. m the Screen . Nelson. | patents being owned by American | companies. * %k X | CRITICS who have viewed early exhibitions of “Cocoanuts,” the musical film starring the four | Marx Brothers, are loud in their complaint that “the usual gross in c onsistencies of the musical show run ram- pant through t l]:o picture.” That is, it is a | Blend. sound | without a blend- Stage and Screen Do Not and the stage. Coherence is | the much needed quality. In “The | Broadway Melody” and “Close | Harmony,” the stage and screen | were blended in such a manner that the picture as a whole was ‘Cocoanuts” one of the Marx brothers plays a harp, another wise-cracks, then the chorus dances, followed by brother at the piano. The pic- ture lacks a motion picture tech- nique; the succession of scenes one to another. entertaining the film may be, it is just a series of vaudeville stunts; the stage show has been shifted to the screen without many changes, and it is a clear demon- stration that the two cannot work together. is ok HERBERT BRENON, who billed by his new employers as “the creator of great photo- has joined forces with Radio Pictures. He directed such well known efforts as “Peter Pan,” “Sorrell and Son,” “Beau Geste” and “The Great Gatsby.” * ok ok % SEVERAL of the Hollywood pro- ducing companies have gone on record as against the freelance publicity agents, and studios have been barred to this class of workers. Also, a ruling has been made that di- rectors and stars cannot employ press agents for a particular pic- ture. Naturally, there has been a cry of restraint of trade. 3 Sidney Lust, Washington exhi- bitor, says the neighborhood houses are in for a bright future. Talking pictures have increased attendance during the past few months. Out in Springfield, T11,, the State Legislature is pondering over a bill for censorship of motion plc- tures. Moran and Mack, comedians, now working at Hollywood in the picture, “The Early Bird,” have declared for a six-hour day. They refuse work until the sun goes down. Raymond Hatton and Wallace Beery, while working to- gether for Paramount, were al- Jowed to quit work at a certain time each day. Sir Gilbert Parker declared, at Here, There and Everywhere. Motion Picture Arts and Sciences, that the photoplay was the great- est educational force in the world today. George Marion has been. signed by Metro-Goldwyn-Mayer to ap- pear in the film version of “Anna of the contract, Marion will also do some directing while on the West Coast. "It is announced that Colleen Moore’s contract with First Na- the company, and the star says she has no plans for the future. Pietro Mascagni, Italian com- has been approached by an American company to supervise the making of a synchronized film of his work. Pola Negri will sing a song in the production she is making in London. Paul Czinner is her di- rector. engagement in New York. Vincent Youmans, who wrote and “Hit the Deck,” has been signed by Metro-Goldwyn-Mayer to supervise the production of “Louisiana Lou.” Jack Mulhall's next starring vehicle will be “Touchdown.” “The Hollywood Revue of 1929,” a film musical extravaganza pro- duced by Metro-Goldwyn-Mayer. | near-stars of the movies. Among \ those who have parts are John Gilbert, Marion Davies and Norma Shearer. Lionel Barrymore will direct the John Gilbert picture, “Olympia,” based upon the stage play of the same name. Production starts within a few days. “Ladies of the Evening” has been secured by Columbia and will be produced with dialogue. Douglas Fairbanks, jr., has re- . tures during the next year. | It is reported that Tom Mix is . returning to the films. Lewis Milestone is directing the first all-talking picture, starring | Norma Talmadge. Betty Compson is being starred “The Viennese Charmer.” Camilla Horn has decided to re- main in America for at least one more picture. She will be a fea- tured player in the Warner grothers‘ production, “The Royal 0x."” “Welcome Danger” is the title of Harold Lloyd’s new talker, pro- duced through Paramount. B‘nrbara Kent plays opposite the star. Next Week's p}lotoplays. FOX — Warner Bros. Vita- phone production, “Stolen Kisses,” starring May Mec- Avoy. PALACE—Willlam Haines in “A Man’s Man.” COLUMBIA—Eddie Dowling in “The Rainbow Man,” if “Alibi” is not held over. jin picture | ing of picture | another | goes on without the relation of No matter how ! a recent dinner of the Academy of | Christie.” According to the terms | tional will not be renewed. She | has one more picture to make for | | Puccini, | which was produced at the Metropol- poser of “Cavalleria Rusticana,” | Baclanova is filling a vaudeville | the music for “No, No, Nanette” | will include many of the stars and | made thoroughly entertaining. In | - | | Cameo THE Photoplays at WEEE OF JUNE 2 SUNDAY STAR. WASHINGTON. D. Washington Theaters This Week Tuesday Wednesday 0.; Thursday Friday JUNE 2, 1920—PART _ Satwday Ambassad'’r Maurice Che: 1 “The Innocents of Paris Maurice Chevaller in “The Innncents of Paris” Maurice Cnevalier “The Innocents of Paris.” Corinne Gr) Vitaphone short subject.. n “The Divine Lady." Corinne Grimt “The Divine Lai Vitaphone short sect. Victor McLagion in ““Strong Boy.” Vitaphone short subject Buddy Rogers 1 in ony." Bessie_Love, s King and Apollo Charles King and Anita Page in “Broadway Melody.” Bessie Lo Charles King and Anita Page in “Broadway Melody." Beasie_Love. Vita. Victor MeLagien in “Strong ‘Boy." Jack Duffy ‘comedy. short_subject Tars Hansen in “The Home Coming. Vitaphone short subject. Belle Bennett “Molly and Me." Krazy Kat_cartoon. Ave. Grand E Vo Cameo_comedy. c: Texas Guinan in _ “Queen_of the Night ubs. Vitaphone. _Comeds. d Mack a a Fields in ice of the City."” o_comedsy. Texas Guinan_in “Queen of the Night Clubs.” Vitaphbne. Comeds. Victor McLaglen in . Strong Boy." comedy. subjects. Short_subject a Belle Bennett Molly_and _Krazy_Kat_e Dark. Mt.Rainier. Md. Canarv Murder v “Loye in the Des Case. itaphone act. Vitaphcne “act. “Simba. Comedy. “Divine Lady " Vi Vitaphone act. aphone act. Theima Todd and Creighton Hale in “Seven _Footprints to Satan.” Carolina Cr Se Thelma Todd and chion Hale in Footprints to Satan.” Edmund Lowe and is Moran_in Tim McCoy and Roliins and Nancy Drexel “Making the Grade." Willard Mack and Sylvia Plelds in ““Voice of the City." Central Willard Mack and Ciauius Gt comeds. Charles King and Eescie Love in “Broadway " Melods. Krazy Ket cartoon. Ch;vy Cha. in “Jazz Arthur Lake co Girl Karl e T rRe rthur and Geol Circle K AT oo e ephine Dunn in All_at_Sea. Dade. “Tom Moore and rihir and Tom Snutschi in, “Yellow Back.” Karl e XK. «itaphone _sub ng Vitaphone reel. "Comedy. Willard Mack and o Fields in Cameo_comedy. Vitaphone reel Comedy. Lars Hensen “The Homecom!! Vitaphon Davidson, George Siiney and Jean Hersholt ir Ramon Novarro and Anita Page in “The Plying Fleet." in Comedy. __ e _and_Take nd_Dorot Milton Stlls in Colony hy Mackaill and T1ois Moran His Captive Voman.” Anna Q. Nillson in “The Blockade Vitapnone _reel Lina Basque! Bennett Kat cartoon & Garbo in Wild Orchids. Comedy. P s, Elite Chester_Conklin in a Garbo in v “Seven Footprints to Satan.” Orchids. omed: Audrey Ferri: “The Little W Comeay. Sport Dolores flo_Tn “The Redeeming Sin.” News. Comady. “Simba.* Subsidirry reels. in “Desert Nights.” Comedy. ert John Gilbert in “Desert Nights." Comed Trene Rich in “Women They Talk bout.” ou Collegians. Mon’!’l{ Biue News. Jolson in n_Bills tive Wo Cartc d Dorothy Ma-k Milton Eills “His Captive Woman." Cart Margaret 1ivicgston K and, Hoimes Herbert in 1l and in “The Charlatan. Vilaphone reel iehar in “Scarlat Seas. Cameo _comeds. _Vitaphone_reel arthelmess n “True Heaven Yitaphone subject. Krazy Ka: cartoon. T Eive Berial Behind the German ines. New serial, Allce—' White “Nau Sub n hty Baby." diary_reels. “Looping the Loop.” Comeay. " Dolores_Costello “A_Man_in Hcbbles." ““The Tender pt May McAvoy fn “The_Terror.” News. Comedies. v Carroll and v Pogers in s_Irish Rose.” al Budd “Abie AMUSEMENTS." Morris Gest Announces VIORRIS GEST has just announced { 1920-30. No less than 12 major even's | are included but other projects may be | added before the producer returns from | Europe in the late Summer. Mr. Gest's | program _will be roughly divided into two categories: wholly new events, and the continuation of projects in which he_has been previously interested One of the most significant features in these two classifications is the foun- _| dation of a Russian-American ballet ~| under the direction of Michel Fokine. | Fokine, it will be recalled, first came to America at the summons of Mr. Gest to stage the ballet in “Mecca.” Mr. Gest will take over and greatly enlarge his studio in its scope to pro- vide for the casting of a ballet reper. tory to include Rimsky-Korsakoff's Coq d'Or” and “Sheherezade” as well as “Cleapatra,” “Les Sylphides,” “Prince Igor” and othes Next season, among new events. will also see the realization of Mr. Gest long-deferred intentions to do Offen- bach’s light Opera, “Orpheus in the Underworld.” under the personal direc- tion of Max Reinhardt, as well as the new spectacular pantomime by Hugo von Hofmannsthal and Reinhardt, also under Reinhardt’s direction. of the theater international, he has closed contracts for the firsi appear- ance in America under his direction of the Royal Burmese Ballet, one of the artistic wonders of the Orient. Last but not_least the new projects is a very leanings for which Montague Glass has written the book, Dmitri Tiomkin, the compeser and husband of Albertina a varied and ambitious program for | Striking out into wholly new geograph- | ic and esthetic territory in the realm | modern musical comedy with Russian | Rasch, the score, and Newman Levy, the lyrics. Mr. Gest's continuing activities will include the second transatlantic tour of the Stratford-upon-Avon Festival Company from the Shakespeare Me- morial Theater, the only theater in the British Empire directly _under the patronage of His Majesty King George the Fifth. Mr. Gest will bring the same company to New York in Oc- tober in a limited engagement of five weeks in a repertory of eight plays. Negotiations have also been completed for the first return in five years of the Moseow Art Theater under the dual direction of Stanislavsky and Nemro- vitch-Dantchenko in & repertory in- cluding three wholly new productions as well as the favorites from the original seasons of 1923 and 1924. After a limited engagement in New York, this company will also go on tour intact In January Mr. Gest will introduce Central Europe’s foremost actor, Alex- ander Moissi, in his debut on the Eng- lish speaking stage in New York, in Shakespeare's “Hamlet.” After a Sum- mer of rest in Europe, BaliefI's Chauve- Souris will return for a limited engage- ment of four weeks in New York, with a transcontinental tour to follow. Mr. | Gest’s schedule includes also a revival of “The Miracle.” On the conclusion of its engagement at his New York Hippodrome, the Prei- burg Passion Play wil be sent by Mr. Gest on a long transcontinental tour, while the Dickens' comedy, “Pickwick.” which was seen at the Empire Theater in New York two seasons ago, will be revived and with David Belasco's | production of Lenore Ulric in “Mima” | as well, will go on tour also under Mr. | Gest's direction. Ramon Novarro n “The Flvirg Fleet.” Com Ramon ;No\nm “The Fly Coi n Fannie Brice in 5 Fleet.” “My Man." y. nie Brice in “My Man." Rin-Tin-Tin in “The Land F Audrey Ferris in “The Little Wildcat.” Comedy. Silver of the ox. Victor McLaglen in “Cap:. Lash.” New Milton _8ilis in “The Barker. Sennett comedy. News. M Princess se fiton_8ills 1n he Barker. Foreign_cast in s Loo onett comeds. “Looping the Loop.* Hal Roach comedy. News. _ Foreign cast in “Looping the Loop.” Hal Roach comeds. News. Glenn Tiyon in “How, to Handle omen.” Vaudeville. Vitaphone_act. “Lx'fiuco( New York. omedy. W Vitaphone act. “Lights of New York. .. Comedy Vitaphone act. Al_Jolson in “The Singiug Fool Savoy Fannie Brice in My Man.” Bert Lytell and Lois Wilson n Doris Kenyon and Richard Bennett n “The Ho Dolores Cortello and May_MCcAvoy, Conrad Nagel in “The Redeeming Sin.” Edw in_“The Terror. Louise Fazenda and d Everett Horton v Tee in v ‘Boy.” Silver Dark. Seco sorins. "Ma’ Lo George O Richard in "Scarlet Se Nency “The A ngi Comedy. News. Chester_Conklin i1 “Taxi 13.” Carroll in Shopworn News. el Bell_in Chance.” Lee in Sonny Bo Patne Sound News. Takoma Ramon Novarro in “The Flying Fieet.” Ramon Novarro in, “Unele Tom's Cabin.” “Uncle Tom's Cabin. “The Flying Fleet.” The Spieler.” Jack Holt in *'Sunset Pass.” Rancy Carroll in Close Harmony. Vitaphone subject. Comeay Charles Anita Page in “Brondway Melods.” Tkwell cartoon. Tivoli York Nancy Ca Vitaphone ihiect, Comedy. Charles King and Anits F: “Broadway Ink Toll in Milton Sills in ' “Love and the Devil.” Toplics. News| “Love and the Topics. Milton Siiis_in Devil.” Walter Huston in “Gentlemen of the Press.” Comedy. Vitaphone_reel. Walter Huston in 1 {ne Davey Lee in “Frozen River. WIDE contrasts between continuities for silent and talking picture established when the motion picture industry decided to “say it with words. were commented on recently by Frank Tuttle, Hollywood writer-director. For silent pictur Tuttle said, writers made their characters speak by their agifons. Subtitles, for dia- logue_or explanatory purposes, had e held to the minimum, and continuity workers labored for years to evolve a Margaret Livingsion in ‘‘The Chariatan.” are i y Comeds. Vitaphone reel. ¥ Melody.” cartoon. Lars Hansen in “The Homecomine.” Vitaphone reel. Texas Guinan in “Queen_of the Night ubs,” Comedy. Willard Mack and Cameo comedy. ur Gans co Vitaphone reel. technique of effective pantomime. “Talking pictures have wrought radi- cal changes. And best illustrations of these divergent methods can be ob- l Coming Attractions. [ NATIONAL PLAYERS—"The Girl of the Golden West.” | It has been almost a quarter of a| century since Washington theatergoers | saw David Belasco's celebrated play, “The Girl of the Golden West,” which will be revived by the National Theater Players next week, beginning Monday, | June 10. The play is a vivid picture | of Western life as it was lived in Amer- | ica just before the dawn of the new century. | “The Girl of the Golden West” was first produced in Pittsburgh, at the Belasco Theater, October 3, 1905, and went into New York in November of | the same year to make theatrical his- tory. Washington saw it when the original company, with Blanche Baws.; Fra k Keenan and Robert Hillard, played the Nation's Capital in 1906. | “The Girl of the Golden West” will | be recalled by old-time theatergoers as | possessing some of the greatest climaxes ever presented in modern American melodrama. “The girl,” a heroine who | meets with all the requirements of | histrionics, is running a saloon out| in the great open spaces, and has Tesisted the advances of all manner of men until Dick Johnson, a plctur- | esque outlaw, appears on the scene, | pursued by the sheriff, Jack Rance, | who in combat_outside the cabin has | wounded the outlaw. The girl conceals the bad man in a loft. Rance, on the | trail of the fugitive, enters the cabin | and looks everywhere but obvious place of concealment about to give up when the girl chal- | lenges him to play a game of poker | with her, with the understanding that | she is the steke. If she wins, he will | discontinue his efforts to capture her | lover. With an old card trick, the | girl cheats the sheriff, but just as he | is about to leave the cabin ‘a girop of | blood falls on his gauntlet—a dead | give-away of the fugitive’s presence overhead. “The Girl of the Golden | West,” one of the most interesting pieces of dramatics of all time, origi- | nally was called “The Girl, the Man and the Sheriff.” From it was produced an “La Fanciulla del ra b West, itan Opera House, December 10, 1910, with Emmy Destinn as Minnie, the girl. Enrico Caruso was Dick Johnson, the outlaw, and Pasquale Amato was Jack | Rance. It was the first opera to be written from the theme of an Amer- ican play. Genteel Screen Killer. ILLERS are sentimentalists. Jesse | James had s puppy that hopped around the bearded man lying on the | floor of the St. Joseph house on that | morning of April 3, 1882. Gerald Chap- | man thought himself similar to Joseph Conrad’s Lord Jim, and wrote verses in the Wethersfield jail. Chick Williams, the gunman who shoots Patrolman O'Brien and Detective Daniel Aloysius McGann in “Alibi,” has a wife who likes gardenias, a son who likes cod liver ofl, and a father who can tell what Bernhardt, really thought of Duse, and how far Cap Anson would sock ‘em, This Williams is no ordinary Killer. He used to be a magician, and his card tricks baffled half of Beverly Hills for | two months. He has furthermore a pleasant voice, gray eyes, white teeth, a mean look, and a set of Schnitzler. In “Black Waters” | | | | these German productions, | be felt in California. RUTH ELDER, | Who almost flew from America to France, now a featured player in Movieland. She plays opposite Hoot Gibson in “The Winged Horseman.” (Continued Photoplays This Week from First Page) | featured with | who will offer way ecntertainers, program. PALACE- | Palace in picture, In the Adoree, Crisp. suppor Doroth; and girl. itinerant trader sensational swim of the he Pagan, native sweetheart. “tigers of lights of the picture. Mr. Pisher are Leor Brusiloff and the 40 Fox Jazzmanians, and the “gorgeous” Foxettes in new dance rou- tines, as well as a long list of Broad- , each offering genuine entertainment. Fox Movietone News, in picture and sound, will complete the “The Solo,” —-“The Pagan.” Ramon Novarro, tamous lover of the gcreen, is featured this week at Loew's the Metro-Goldwyn-Mayer a sound picture. Renee ting cas y _Janis are and Donals A South Sea Isle is the back- ground for a romance between an island bo; W. S. Van Dyke, author of “White Shadows in the South Seas,” is an actor in and directed the picture, which is provided with thrills and in-| cidents peculiar to the islands where the film was made. part of a half-caste, heir to a large| fortune, who is pitted against a wily the suit for his 1 She, in turn, is the | rival of a white adventuress on the is- land for the love of the youth. Novarro's shark- infested waters and his battle with one the sea” are high- He also sings in nming_through for the first time on the screen. On the Partington’s “Fi; | includes the C: wind dancers; | Voliced_Singer" | the Albertina, gram. stage, ywood's ambassador of joy with the Palace Syncopators in Jack ‘The cast whirl- Eddy, flying dancers Pet Shop Prides; Robert Cloy, “Golden Eleanor Verande and Harry Borjes and the Palace Concert Orches- tra, Charles Gaige at the organ, short | subjects, the Fox Movietone News and the M-G-M News complete the pro- Herbert fth Avenue.” aites Brothers, Dolores Douglas _an Rasch Ballet. RIALTO—“The Last Warning.” Blood-curdling cries, | dull thuds, sepulchral tones and all thy other chilling sounds of a mystery play are offered at the Rialto this week in ] a picture co- rring Laura La Plante and John ‘The Last Wal Talkies Hamper Camera TALKING pictures have not only played the cat and the banjo with acting, writing and directing of films; they have also altered fashions in de- signs of sets against which man, woman and the Tertium Quid disport them- selves. Time was when a design for a motion picture set looked like one of those pastel-colored washes which landscape architects and interior_decorators pre- pare for their clients. But the sketches for “Bulldog Drummond,” for example designed to give the proper air of mid- night horror to a story ‘of blackmail, torture and sudden death, have a little of the air of George Bellows, even a suggestion of Edgar Allan Poe. They got that way largely on account of talk- ing pictures. It all began with such imported pi tures as “The Cabinet of Dr. Caligar “Variety” and “The Last Laugh.” In American directors and cameramen learned that a few feet of film shot from an ab- normal angle would heighten the dra- matic effect of certain types of se- quences more than a whole reel of normally fore-shortened pictures. It can scarcely be said the Hollywood technique in camera angles ever sur- passed that of “Variety,” for instance, yet within a short time it was farily well abreast of the foreigners. The Russians also acquired the new idea and turned it into & particular regard for rows of feet, masses of hands and such anatomical symbolism, from which the full repercussion is vet to “The Passion of Joan of Arc” has lately shown New York that this general continental tra- dition is being nobly kept up. Directors now had a new weapon in their arsenal and plctures, it must be admitted, showed a considerable im- provement in matter of photo- graphic treatment. And the scene-de- igners as yet felt no ill effects. They ould still lay out realistic barrooms, abarets and rose-covered cottages with very little thought of where cameras | were to be planted for angle shots, After a voice test, Mary Brian was selected from 20 girls to play the only g,-n;“nr Tole i “Black Wacetsan nglish production w! being turned out in Hollywood. 5 ’” | since a motion picture camera of the old school is a reasonably portable object. With the coming of dialogue, how- ever, and the introduction of special equipment which could not be picked up and carried about except by a trav- eling crane, the golden age of designers came an abrupt and tragic end. Overnight the camera, which previously had scarcely been taken into account, turned into an overgrown ice box dangling perilously at the ends of huge chains, making its troubled way to wherever it happened to be needed in the studio with the ponderous finality of an elephant feeling for a peanut. A camera’s cruising radius, so to speak, was thus reduced to a vanishing point and the designers’ troubles began. Mahomet can no longer come to the mountains; the mountains must come to Mahomet; and the angles which clever camera placing would have pro- duced two years ago are now designed beforehand snd m into the sets be- angular is now carpenter inste: the edge of a s crazy house. wrong; should be and might be expe askew. but few of th achieved in ¢ photographic i , arranged set. SA when film stu day. of Sargasso Se: Lost Ships.” in a huge shal ever, mlnc of view. specimens, In Native WTongue. convey hi b2 ing in * Eli and soldier of next to a loud speaker on the Old Mexico village directions to the extras in their native tongue. Instead of dressed up in costumes, Barker had the casting director go into *“cholo town, the Mexican q get atmosphere players. der atmesphere talk in their “native language. “The Gread tation of Willlam Vaughan fore the picture begins. A staircase which must look alarmingly steep and ing the camera and cameraman over The result is that the sets on which Goldwyn's merry men shot this film resemble the inside of a Coney Island | windows slant unaccountably; floors slope in several directions at once; there are shadows where no shadows acingly over furniture which is slightly “Movie”-audiences long since have become used to seeing such efforts employed in consonance with the dra- matic necessities of the picture in hand, | angles and shadows Sargassum Algae. RGASSUM algae made its bow in the films at First National studios duce everything for “sets” from lawns rolled up like carpets to full-sized upas trees from Borneo, imported their first |large shipment of seaweed the other 1t was required there for the fllming the famous unexplored seaweed eddy of the Atlantic Ocean. There was one compensation, how- from the studio horticulturists’ pection that sometimes is long and costly, even to the point of ruining when foreign plants brought into California. horticultural inspectors must go over all such shipments for pestiferous in- sects and rusts. But scales and mil- Ydews and bugs do not flourish on sea- :;!d. 80 this formality was dispensed th. exican and Spanish extras work- ’he Great Divide,” director Reg- inald Barker employed an interpreter. lias Gamboa, former Mexican guide sta Bole: the product af the stage ad of the result of hang- sibie caffolding. seems to haunt Vanishing points are all patron. none at all where they cted. Walls hang men- merville. “The Weavers em will realize that the Tdt they see are 1 onstruction and not by | pl uggling with a normally Guild at the Lit ‘The story cial recognition dio_gardeners, who pro- floor. “The Weavers” a scenes in “The Isle of | MOSL €Ver Acres of it were massed low pond that represents | €1ich ZElbCR and it is There was no bother of | duction. this production, are uore and Herm: German_players. is instructions to the 200 200 the rebellion, was set and shouted camera using the usual extras uarter of Los Angeles, to ‘They will ren- AMUSE! by ears Divide” is & screen adap- s famous American stage classic of the same name, of startling shriek: rning, It is a screen adaptation of the play by Thomas F. Fallon, which had a long run on Broadway. ‘The story is laid in a theater which | has been closed ever since the murder | and disappearance of the body of the star in the midst of a performance. After five years the spooky old theater is reopened for rehearsals of the same play, with the same cast as far as pos- The ghost of the murdered star Strange things happen during rehearsals. Mvg- terious warnings threaten the actors. ‘The opening night arrives and the play goes on, but with startling results cal- culated to stir the most blase picturs the theater. ‘The cast supporting Laura La Plante ;nd JDO)AH Boll‘h‘s includes Montagu Love, oy D'Arcy, Margaret Livingston, Roach, Mack Swain, e titooh Mme. Carrie Daumery and Slim Sum- LITTLE THEATER—“The Weavers.” a film adaptation of Gerhardt Hauptmann's world famous v, will be featured by the Film Aris tle Theater this week. “The Weavers,” One of the outstanding characteris- ties in the picture, is its unique e work in which grotesque and distorted effects which heighten the artistry were “shot” by means of a third cam- era perched on the ceiling, or on the is one of th ploneer pictures to adopt the camera | angles, which are now current in al- | motion picture of merit. “The Weavers” was directed by Pred- erich Zelnick, who produced *“Dancing eautiful Blue Danube,” aid to have been indorsed by Gerhardt Hauptmann, the author, who viewed the picture shortly after it pro- Only 13 days were required to make with the players, cam: eramen and Zelnick working day and | night in order not to lose the tense mood which predominates throughout. The cast, headed by Paul Wegener, ar of “The Golem, role of Dreissinger, the rich manufac-| turer, includes Wilhelm Dieterle, George John, Albert Steinruck, Rina De Lig- all noted ann Picha, DOOR RECREATION FOR MORE THAN FIFTY AMUSEMENTS arr. ToD AY EVE. AT THE GREAT POPULAR FREE ADMISS ION MENT PARK of W. Ry. & E. Ci n or Glen Eche, run o en Novarro plays the Hector and Pals, Burr McIntosh, as | Hauptmann readers know, concerns the struggles of the Silesian peasants in their fight for higher wages and so- who portrays the tained by comparing small portions of continuities on two_ pictures. The first f these is ‘The Four Feathers' the Merian C. Cooper-Ernest B. Schoedsay production, which was 18 months in the making in Africa, which will be re- leased with musical and sound effect synchronization. The second continuit” excerpt is from ‘The Studio Murder Mystery.” an all-dialogue_thriller.” One scene from the Cooper-Schoed- sack picture in_continuity form reads The Leader in pantomime asks the Sentry if he has seen any sign of heip approaching. The Sentry registers that he has looked everywhere, in all direc- | tions, pointing with a sweep of his arm {and shaking his head to indicate that | he has seen nothing. The Leader of | the mutiny reacts with angry satisfac- tion, registering that this is just what | he expected. He talks earnestly to the | Sentry, clearly showing that he is breeding mutiny. The Sentry listens |and agrees. “Consider,” continued Tuttle, “that all of the foregoing scene has to be pantomimed for the comprehension of an audience. No subtitles are used. | And is it any wonder that directors n i d Continuity Changes have literally worn themselves out fo | extract such performances from some bit players?” The other extreme is represented by | talking pictures, and action is acceler- 'd by dialogue, he declared. Tuttle | gives an example by this excerpt taken from the continuity of *“The Studio | Murder Mystery Outside Borka set—semi-close shot. ‘ Helen, staring through the aperture into the set, covers her face with ner hands and starts to sink slowly to the | floor, her body shaken by great sobs. | Tony rushes out from the set to her | and catches her in his arms. ‘Tony (whispering)—Helen, you knew about this! Helen, baby, tell me! Helen (moaning)—No—no—I didn't know anything—what is it? | Tony (quickly, tensely looking about) —Hardell—he’s dead—some one killed him—you knew that! Helen—No—no! An assistant director from the neigh- boring stage runs on, stops short and glares, Assistant—Hey, can the racket, will you? Don't you Tony (flercely)—shut up, you fool! Hardell is in there—dead! Assistant—What! His jaw drops, he looks at Helen | shuddering in Tony’s arms, at Tony's tense face, and then takes a stride to the aperture and looks in. Assistant—Lord! I'll get a cop. Hey, somebody—Mr. Hemming! Hey! | He runs off excitedly. | “Dialogue is surely a greater medium | with which to work,” Tuttle resumed, in producing a scene of this type. The best artistry in the world could never enact this scene in pantomime and endow it with the thrilling suspense it possesses with dialogue treatment. | SO far as preparation goes, save per- haps in that matter of a rehearsal or two prior to tomorrow evening's pe: ance, Manager Cochran, his di- e Rawlinson, | yootor, Addison Pitt, and the National | strolis ayers are readv for a showdown | with “Smilin’ Through,” one of the most interesting and delightful plays they have ever presented. Further- more, with the consciousness of work well done, the: to challenge a verdict. With “The Girl of the Golden Wes however, which has been selected as the super-attraction for their ‘“hun- dredth anniversary,” opening the week of Monday, Junet 10, everybody con- nected with the famous repertory com- pany of Washington, the Capital of these United States, is still busy to the utmost _degree in putting on the final | touches that, with what has gone be- fore, are expected to make David Be- lasco sit up and take notice. Even the local critics of the season are or should be busy in brushing up for so rare an event as Manager Coch- ran has announced for next week. One of them writes that the great Belasco classic was given its premier at the Be- lasco Theater in Pittsburgh the evening of October 3, 1905; that the play was at first called “The Girl, the Man and the Sheriff”; that five years later, to be exact, December 10, 1910, it Was produced in the form of a Puccini grand opera at the Metropolitan Opera House, New York, with Emmy Destinn as the Girl, Caruso as the Outlaw and Pasquale Amato as the Sheriff, and that it was the first opera ever to have been written from the theme of an American play. Strange to say, however, confusing “The Girl of the Golden West” with “The Great Divide,” he put Heni Miller in the original cast of “The Girl of the Golden West,” with Blanche | Bates. He wasn't as wise as Director Addison Pitt, however, who has not overlooked anything even remotely con- nected with the great Belasco play. Di rector Pitt states that while Blanche Bates was the original star of “The Girl of the Golden West,” and therefore the original Girl, it was Robert Hilliard who created the Tole of the Outlaw, the Girl's_lover, was the original Sheriff. d Cochran’s hundredth anniversary, and it is going to be the most natural thing in the world for those who are wise 8s to all matters theatrical inci- dentally to refer to the original cast of “The Girl.” This story is not in- tended as & thump for our enterpri ing local writer, but simply to tell the world that Henry Miller was the star in “The Great Divide”; that he did not play in “The Girl of the Golden West,” and that Robert Hilliard and Frank Keenan were too wise in their day and generation, even if Mr. Belasco Only Theater in Washington Pre. NATIONAL THE g 7 7 ry of Romantic “THE GIRL O 0 7, are ready and willing | and Frank Keenan who | Folks are apt to talk about Manager | ATIONAL $1.00, 75¢ and 50c Getting Thjn_gs Right had not been, to make them swap role types. | "'This, of course, is merely pleasantry \in the interest of accuracy. The im- portant thing is that Manager Coch- ran has not overlooked a single thing of consequence in the history and re- quirements of the Belasco materpiece, which he has selected with which to celebrate the first hundred weeks of theatrical performance by his pet or- ganization, known variously as the Na- tional Theater Players, the National Players, the National Repertory Com- pany and just the plain old-fashioned National Stock Company. He is giv- ing his public the benefit of his abso- lute conviction that “The Girl of the Golden West” is going to top everything of its kind ever offered to a Washing- ton theatrical audience. And there is only one short week to wait to see if he makes good. | | o | Villainy Pays More: JJOLLYWOOD'S screen heroes are discovering that villainy pays more dividends and wins them better roles than good deeds. Never before has there been such a demand for “men- aces” in flims, and the most choice roles in several of the biggest talking pic- tures call for characterizations that used to be hissed and now are ap- plauded. Three of the United Artists | audible films are conspicuous examples of popularized villainy. | Chester Morris started the ball rolls ing with his portrayal of the sang ‘lender in Roland West's “AlibL” an now Gilbert Roland and Rod La Rocque | are deserting the ranks of the heroes to play heavi Roland is going in for | dark deeds in Norma Talmadge’s initial | talking feature, “Tin Pan Alley,” to be | directed by Lewis Milestone, and La Rocque plays the heavy in the George Pitzmaurice production, “The Locked Door,” in which Willlam Boyd has ths sympathetic characterization. So the screen idols are threatening the here oines instead of pampering them—and their directors say it will make thent more popular than ever with the pube ic. “MORGANTOWN CHARLES MACALESTER Leaves Seventh St. Wharf 10 AM., 2:30 P.M. and 6:45 FREE DANCING—ALL AMUSEMENTS RO T S0c MAT. WED. BEG. ALL SEATS 50e MO' Sat. Mat. 75¢c, 50c enting the Legitimate Spoken Drama ATRE PLAYERS * GREATEST SUCCESS CARRIES THAT RARE VEIN OF HUMAN INTEREST AND A WISTFUL SVEETNESS UNUKS ; ANYTHING EVER SEEN ON THE STAGE- GALA ANNIVERSARY PRODUCTION DAVID BELASCO’S Early California Days F THE GOLDEN WEST”