Evening Star Newspaper, June 3, 1929, Page 21

OPENING ATTRACTIONS IN WASHINGTON THEATERS COLUMBIA—"Alibi.” Theatergoers are, of late, seeing most of the stage hits of the past few sea- sons done over for the “talkies” with varying success. In “Alibi” adapted from the sensational play, “Nightstick,” the photoplay version achieves effects impossible for the stage. builds up to the climax with moments of more pow- erful drama, and, above all, is done with a realism that is powerful and compelling. Not until one has seen “Alibi” does he realize the possibilities the sound pic- | tures have in overcoming the limitations | of the stage. For while “voices” is- suing from the shadows may be less realistic actually than those coming conducts the acts, interspersing his introductions with jokes; Muriel and Pisher do a dance turn, Mario and Laz- arine are harmonizers, Healy and Clif- ford provide the indispensable tap danc- ing, the Pearl Twins offer what twins on the stage usually do in the way of dance and song. The Foxettes handle the routine group dancing. An amusing Clark and McCullough skit, newsreels and a fashion bit in color complete the program. The newsreel includes & sequence de- voted to the Kansas City youth who won the recent National Oratorical Con- test in Washington. PALACE—"“The Pagan.” THE _EVENING STAR, WASHINGTON, D. C, MONDAY, JUNE 3, 1929. weavers until they rose in It is a story of man’s inhumanity to man, voiced magnifi- cently by Hauptmann in Germany, as by Zola in France, Galsworthy in Eng- land, Ibsen in Norway, others else- where, ‘The currént picture has been made with the characteristic realism of the German and Russian motion picture schools. There are scenes of the most stirring pathos, terrific and ominous wrath. The picture is one of the most direct studies of mob psychology that has ever come to the screen. In the end there is the sad symbol of frustra- tion, the real impotence of violence, as shown in the slaughter of an innocent man, Among the actors, who make of “The from behind the footlights the “talkies” | Ramon Novarro scores another triumph | Weavers,” a picture to be remembered are able to portray truthfully the im- portant detail that for the stage audi- | ences is limited to mere suggestion in | the lines Thereby “Nightstick.” the stage play | of a policeman's daughter zad i crook husband, becomes in “Alibi” the | talkie version, the same story with the | added drama of a big city's night life as acted by a determined police force | and a daring gang of crooks. But it is | to the stage play that “Alibi” owes its excellent dialogue, which is not a small part of the picture's success. The story also is in itself far superior in drama and suspense to most of the crime pic- tures which have flickered across the sereens of late. The picture is excellently directed and acted in a manner more than adequate. It is to be particularly commended for its restraint and lack of “hokum,” for the sympathetic way in which it han- dled moments that could have been capitalized into disastrous sentimental- ity. To be sure, in the sequence of the young detective's death the timing is bad and certainly not added to by the house orchestra’s playing of “soft music” while the boy passes away The cast is entirely new, with only two prominent exceptions, and it is quite successful. Chester Morris is per- fectly cast as to type in the lead, and he has an excellent voice. His inter- pretation is consistent. Eleanor Griffith, a Washington girl, brings to her rather limited part a dramatic sincerity and a clear diction. Pat O'Malley's work is the high point of his inter- rupted career, and Mae Busch scores a comeback in an interesting char- acterization. The young unknown who plays the heroic detective is worthy of special mention. In many respects he made his difficult role the high spot of the picture, histrionically. ‘Two short subjects in the nature of fairly good vaudeville and & news reel of unsual interest round ou. the bill. METROPOLITAN—*“Noah’s Ark.” ‘The producer of the great spectacle, “Noah's Ark,” showing at the Metro- politan this week, having been struck by the necessity of giving his theme & modern significance, decided to relate the Biblical meaning of Noah's adven- tures to the late war, realizing how the public prefers the profundities of sym- bolism relating to their own lives and their own emotions. In finished form, therefore, the pictures carries corollary imports; that, just as the flood was sent to cleanse the wodl of sin and idolatry, the World War was sent to cleanse the world of hatred and intolerance. The gleaming message is that “war has be- come outlawed” (Mr. Kellogg's very in- tention), and in reaching the ultimate expression of this concept the pro- ducers of “Noah's Ark” have had the :fponunity of using all their tech- ique, all their impressiveness, all their fireworks. The combination of ancient and mod- ern themes strikes this reviewer as a great weakening of the value of the pic- ture. It is so strongly didactic, so un- remittingly moral, that the effort to point a lesson deprives the work of elasticity. The sequences which pro- vide the mod half of the story are somewhat similar to those of other pic- tures, but not as impressive as “The Big Parade” or “What Price Glory?” e real documentary importance of the picture lies in its treatment of the Biblical atmosphere, which forms the second section of the film, in the form of a flashl . Here there is truly spectacular movie work, tic sets, terrifying action, occasil ‘moments of real dignity. The sound effects used 0 heighten the impressions of grandeur or terror are at times so insistent that they actually shake the building. In those elements of craft which the movies have pecullarly mastered, “Noah's Ark" is in no wise deficient. It is as gigantic and energetic a piece of spectacle as the screen has even given. For sheer scenic effect, the handling of mobs, its representation of destruction and ele- mental wrath, the film has probably never been Those whose ac contributes to “Noah’s Ark” in double yal, that of both ancient and lern character, include Dolores Costello, George O'Brien, Guinn Williams, Nosh Beery and Paul McAlister. EARLE—‘“Innocents of Paris.” “Innocents ‘of Paris” does not tell & wonderful story, nor does it better acquaint you with the magnificent French capital, but it brings to us, who might otherwise never see or hear him, the great Maurice Chevalier. ‘What_there is about the man which him. such an international fa- inant figure in the amusement world, is hard to locate ex- actly, for what golden voice he may ADd i canciag as beea SUrpRssed by an g en mmn.!,buthonuwyoubyhhw- sonality alone (if the word personality conveys all that it should). He speaks and sings in English, with a delightful accent for the most and adds sev- eral songs in his native tongue at pleas~ ing intervals. He is, in short, compara- ble only to Chevalier. However, if it had not been for this amazing person, the picture undoubted- ly would belong to the splendid child actor, David Durand, who is himself rather 3 n, too, there are Sylvia Beecher, who is beautiful in the feminine lead; John Miljan and Mar- garet Livingston as worldly characters, and Mr. and Mrs. George Pawcett in appealing peasant roles. ‘The excellent standard set by the feature film is fittingly maintained by the subsidiaries, which include a superb offering by Daniel Breeskin's Concert Orchestra In an overture composed of *“Gems Prom Favorite Operas”; a Vita- rt, “Three O'clock in the featuring George Broadhurst in a slapstick characterization, and a news reel which brings more than the usual number of interesting European shots. The whole bill is and you should by all means see the inimitable Chevaller. FOX—“Girls Gone Wild.” A series of incidents, romantic and naively foolhardy, scrambled together into a plot that strains the most toler- ant credibility to the breaking point, is set forth in “Girls Gone Wild,” at the Fox this week. The picture makes some of Clara Bow's earlier flaming mischief Jook like a game of post office. ‘The turbulent youngsters these days have widened the range, this picture ‘would have us imagine, to include gang ‘wars and bootleg violence and all man- ner of new thrills. Designing to make use, In the early sequences, of such com- paratively innocuous ~atmosphere as dancing parties and the generally ner- vouse flurry of adolescence in search of a “kick,” the producers later on quicken the tempo of folly and bring in sinister murders, automobile chases, leering vil- lains and all the other impedimenta of “pelodrarna. 1t seems unreasonable to helleve that Mr. Fox's employes could have e; ted any one to take the pic- ture usly. One jot more of hokum and extravaganza and ‘“Girls Gone Wild” could have been accepted as a d dream. .‘Blu Carroll and Nick Stuart bear the Jbrunt of excitement in this film, a pair of Indomitable youngsters who, quite naturally, triumph in the end. “Big Bill” Russell plays a maturer role as the boys father, s motorcycle officer. re ‘are others. Th;: the atage show John Trving Wishar | fields. Navarro plays the role skillfully. | vantage of the youth's naive hospital- in his latest United Artists picture, | “The Pagan,” featured at the Palace this week with sound effects, revealing another Navarro talent as well as the | clear tones of Dorothy Janis’ voice. In this part-sound production the di- rectors have wisely refrained from in- jecting the occasional spoken dialogue which marred the effect of many of the early “taikies.” Sound features are confined to the musical accompaniment and vocal numbers sung by Miss Janis and Navarro. “The Pagan” is the story of a half- cast native youth of the far Pacific islands, where life is one sunny hour after another—unless the Western trader intrudes. Which is just what happens to the life of Henry Silver- smith, native owner of rich coconut An American trader who has con- | ceived it to be his duty to adopt and educate a half-caste girl from one of the Pacific islands, comes to Henry's isle in quest of copra and, taking ad- ity, stirkes & hard bargain, gaining for himself the exclusive rights to all coco- nuts grown on Henry's land. Henry sees the trader’s young ward and falls in love with her. Upon a sec- ond visit to the island (after Henry has tried to “make something of himself” by operating a store on a credit basis at his island home) the young lovers meet again, and are about to plight their | troth when the guardian interferes. The | trader separates the lovers and decides | to “save” the girl by marrying her him- | self. Incidentally he has arranged with | the island bank to lend Henry his (the | trad er's) money, and now he demands | | payment of the notes—seizing Henry's | property in default of immediate settle- | ment. | But he had reckoned without a cer- | tain young lady of many loves whose | heart” is in the right place. Renee Adoree plays this role admirably. This girl neatly crosses the trader in his at- tempts to marry his ward, interrupting the ceremony long enough for Henry to whisk away the bride and carry her off to_his mountain retreat. M-G-M News features on the screen complete this part of the program. A lively stage offering, “On Fifth Avenue,” features a remarkable pair of tap danc- ers, the Caites, brothers; Robert Cloy, | tenor; Eleanor Verande and the Alber- tina Rasche girls, charmingly costumed, in some clever dance numbers; Dolores, Eddy and Douglas, adagio experts, and an entertaining dog act, “Hector and | His Pals.” Herbert Rawlinson, the new | master of ceremonles, confines his offer- | :nl this week to an introductory mono- logue. RIALTO—"“The Last Warning.” ‘There have been mystery shows and mystery shows, but “The Last Warn- ing,” a Universal talkie at the Rialto, far surpasses the usual crop. However, like all the rest, the culprit turns out to be the innocent, easy-going one, who is the least suspected. The eerie music of the orchestra, weird shrieks and | the whispered dialogue add greatly to | the effect so essential in mystery plays. Had the silent scenes been produced with sound, the picture would not have had a slow nor dragging moment. Paul Leni, the “mystery show” - ducer, does even better with “The it Wi g” than with his last success, “The Cat and the Canary,” which has been adjudged by some as one of the best. True, much of his work was cut out for him, for with few deviations it was the same as the su stage show by the same name. ‘The story is laid in a theater which has been closed since the death and disappearance of the body of its favor- ite actor. After a number of years Mon- | tague Love, as the new producer, calls together the original cast to enact the same play in the same theater. During the rehearsals mysterious warnings mfl t"h; actors, but they are dis- regar ceeds with the show. (Roy D’Arcy), who has been chosen to play the part of the dead actor, dis- appears in exactly the same way and at offer this week “On Guard,” which with that his predecessor had done. John Boles, as Quayle, the stage manager, who is suspected of killing the actor, volunteers to play the part to prove his innocence. On the opening night everything runs ] the part is reached ‘where the two actors have disappeared. At this point all scenery is quickly shifted to the roof and policemen swarm on the stage. Hiding in the clock is the ‘murderer. Laurs La Plante, who has staged quite & ecomeback in the sound pictures, but she does 1. She enly 'aks once, but she screams two or three times. By far the best acting is that of Mon- tague Love. He can no longer take the part of the young hero, but with his ripeness of age has come the ability to portray character. ‘The Collegians have also forsaken the silent picture for the talkies. They offer this week “On Guard,” whch with & news reel completes an entertaining program. LITTLE THEATER—“The Weavers.” ‘To view Gerhart Hauptmann's pas- sionate document of rebellion nfitnn soclal injustice, “The Weavers,” its cinema form at the Little Theater this week, is an invitation to unmitigated praise of the movie medium when it is handled by such artists as have created this film. As fine a piece of work as it is, its origin remains some- what ol . _One learns only that it was produced independently in Ger- | many, that it was made in the in- credibly short time of 13 days, that it was directed by one F. Zelnick, and sponsored in this country by Joseph R. Fliesler, managing director of the ‘Washington Film Arts Guild. “The Weavers” was a deep and mov- ing dramatic work. Huneker said of it that “it is not & play; it is a chorale of woe, malediction and want. The | WE PAY 5/ OR MORE Save For Start in on your Savings ||| 1astingly harmful. ‘The young man who saves systematically can face the future with untroubled eyes. “q today to pro- tect yourself by de- positing as one dollar with us. of Open daily 9 to 5 Saturday until noon NATIONAL for characterization alone, if for noth- ing else, are Paul Wegener as Dreis- siger, Herman Picha as Baumert, Wilhelm Dieterle as Moritz Jaeger and Dagny Servaes as Luise Hilse. 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