Evening Star Newspaper, June 9, 1929, Page 53

‘— T‘hkeater, Screen Wand Music " AMUSEMENT SECTION he Sundwy Star, Motor, Aviation ar}d Radio News WASHINGTON, D. €., . SUNDAY MORNING, JUNE 9, 1929, = DoLores CosTELLO and GEORGEOB e RIEN-/ 4% /\Ae'h‘opohfan BSTAGE and " SCRFEEN. WILLIAM HAINES and JOSEPHINE_ DUNN- < K/ BiLLy Dove: and _ANTONIO ORENO- Earle SCREEN ATTRACTIONS OF THE WEEK. RIALTO—“My Boy.” This afternoon and evening. COLUMBIA—“The Rainbow Man.” This afternoon and evening. EARLE—“Careers.” FOX—“Stolen Kisses.” This aft PALACE—“A Man's Man.” METROPOLITAN—“Noah’s Ark.’ This afternoon and evening. erncon and evening. This afternoon and evening. This afterncon and evening. LITTLE THEATER—"The Weavers.” This afternoon and evening. RIALTO—"Mother’s Boy.” “Mother’s Boy,” a singing and talk- ing picture, starring Morton Downey, *“Broadway's Golden-Voiced Tenor,” and featuring stage players of prominence, among them Helen Chandler, Beryl Mercer, Osgood Perkins, Barbara Ben- nett and John T. Doyle, is this week's action at the Rialto Theater. “Mother’s Bo written by Gene| Markey, is the story of a young tene- | ment dweller in New York, who begins his career as a delivery boy in a deli- | catessen store. His singing attracts the attention of a poor violinist, who un- dertakes to train him for an operatic career. Owing to a theft committed by his_brother, he quits his home under a cloud, and while his doting mother grieves for him he carves out a suc- cessful career. In the cabaret sequences of the pic- ture Morton Downey sings several pop- ulsr songs, including the theme song, “T'll Always Be Mother’s Boy,” and, with Helen Chandler, “There'll Be You Other airs heard in_the pro- and both | sung by Mildred Hunt, radio artist. De | Leon and Beebe, famous tango dancers; | Ruthie Mayon, rhythmic athletic dancer, | and other specialty entertainers are pic- | tured in the production. COLUMBIA—“The Rainbow Man.” Eddie Dowling, erstwhile singing eomedian and romantic actor on_the legitimate stage, has the leading role in “The Rainbow Man which is at Loew’s Columbia this week. In the sup- porting cast are Marion Nixon, Frankie Darrow and Sam Hardy, with a group of minstrel men. The story is one of stage life. Hayes, | an acrobat, is killed and leaves his lit- | tle son to be cared for by “Rainbow” | Ryan, who takes the youngster with him into Hardy's Minstrels. At a hotel | where they are staying Ryan falls in Jove with the proprietor's daughter, but an antagonistic father turns Ryan and the boy into the street. Some months later they are in New York, broke, Ryan looking for work. The girl follows, Te- vealing that the little chap is her sis- ter’s child, but both she and_the lad | aré subsequently taken from Ryan by | the frate father. Some time later | “Rainbow's” old boss takes him back | to the show as a partner. The success | of the show is tremendous and, best of all, enables Ryan to win his sweetheart when he sees her in the audience one | day. ‘Metro Movietone acts, the Fox Movie- tone News, M.-G.-M. News and music by the Columbia Orchestra under Claude Burrows make up the remainder | of the bill. Billie Dove's future First National Vitaphone pictures are going to be 100 per cent dialogue. It is ciaimed that this decision was reached after the suc- cess of Miss Dove's last two pictures, | one of which, “Careers,” will have its | premiere Washington showing at the | Earle Theater this week. The story of “Careers” deals with the ambitious wife of a_young magistrate, who seeks to obtain his advance in the diplomatic service by interceding with his superior officers. The events that | follow make up a plot that is declared novel and thoroughly interesting throughout. Antonio Moreno, who was seen oppo- site Miss Dove in “Adoration,” is the | leading man in “Careers” He plays | the role of the husband. Others are | Noah Beery as the governor, Carmel | Myers, Thelma Todd, Robert Frazer, Robert Schable, Robert T. Haines,| Holmes Herbert and Sojin. “Careers,” which was directed by John Francis Dillon, is continental in feeling | and treatment and provides Miss Dove with a highly dramatic and tense story. FOX—“Stolen Kisses.” “gtolen Kisses,” one of the season's| screen farces, comes to the Fox this week with May McAvoy as its star. o The high light of the story is a pre-} tentious stage revue at the “Follies' Bergeres,” famous Parls music hall.' Indeed, the majority of the scenes of the picture take place in this music hall. Pitched in typical farce key, the story takes the players through many laugh- able situations and gives May McAvoy opportunities for deft artistry. The supporting cast includes Claude Gllling- Eater. Edna Murphy, Reed Howes and Phyllis Crane. The picture is a Warner Brothers Vitaphone talking production. John Irving Pisher, master of cere- monies, will introduce many Broadway entertainers, - including - Doris Vinton, star of “Lucky Girl"; Don Cummings, with his lariat and a line of chatter that_is always productive of laughter; La Celise Brothers in a character study | that has graced many musical revues, and Mario and Lazarin, the singing | troubadours. in a new_ cycle of songs. These singers were held for a second week, it is announced, in response to many requests. In addition, Leon Brusiloff and the 40 Fox Jazzmanians will offer a novel orchestral number, besides furnishing musical accompaniments, and the gor- geous Foxettes will be seen in new dance routines. The Fox Movietone News, presenting world events in sound and picture, will complete the program. PALACE—"A Man’s Man.” Willlam Haines in the Metro-Gold- wyn-Mayer sound picture, “A Ma Man,” is the screen feature at Loew's Palace this week. Haines is supported by a cast including Josephine Dunn, Sam Hardy and Mae Busch. As a soda-slinging hero, Haines of- fers a characterization of a serious young man. The fountain where he works is next to a fashionable Holly- wood theater. From this vantage point he reveres the movie folk. He sees' John Gilbert and Greta Garbo, as well as other stars, attending a premiere, but his particular interest is centered on an assistant movie director whom he con- siders his friend. Josephine Dunn is A movie-struck country girl who thinks she looks like Greta Garbo. She meets the soda clerk, and in short order they marry. The clerk has two ambitions in life—one to join the Elks, and the other to deveiop a personality. In so doing he neglects his wife. The assist- ant ‘director friend sells him some worthless stock for 200 and also takes the young wife out by promising her stardom in the movies. Discovering he has been fooled and that his wife has been duped, he sets out for revenge, is badly beaten by the director, and_goes back to his apartment, about to leave his wife. A whimsical scene follows with the result that he again goes out, his wife with him, and really thrashes the director, thus proving himself to be “A Man's Man.” On the stage Herbert Rawlinson, “Hollywood’s Ambassador of Joy,” is presented in “Circus Cabaret” with the Palace syncopators. Other featured en- tertainers in this presentation, which embodies the sensation and thrill of a circus with the life of a night club, are Walzer and Dyer, Evans and Wolf, Pink and Ayers. Vera Van and Sixteen Foster Girls. The Fox Movietone News, the M-G-M_News, short subjects and the Palace Orchestra will complete the program. METROPOLITAN oah's Ark.” Warner Bros.” “Noah's Ark,” with Do- lores Costello in the stellar role, follow- ing a very successful first week's en- gagement at Crandall's Metropolitan, will be held over for the second week. A great spectacle, its Vitaphoned talk- ing sequences and symphonic accom- paniment and sound efTects have stirred capacity audiences to applause and cheering. Extraordinary spectacular ef- fects have been achieved upon the screen in the making of this picture. The dialogue sequences are impressive and dramatic and the musical accom- paniment played by the Vitaphone Sym- phony Orchestra, directed by Louis Sil- vers, adds much to the colorful drama of the flood sequences. There is a modern introduction to the Biblical flood, in which fragments of the action of the embattled armies in the Great War are depicied, the flood of blood that overwhelmed mod- ern civilization leading the chief char- acters in the drama to that great flood of water in Noah’s time, which, accord- ing to Biblical accounts, overwhelmed the world. Dolores Costello, seen as a young German girl; Mary, a dancer in a trav- eling troupe, on the Paris-Constanti- nople Express, with Travis, a care- free young American, and his friend, Al Nickoloff, a Russian officer, when the train runs upon a wrecked bridge and its cars are sent tumbling down the embankment. Thus opens the modern story. Later the characters are seen in Current Attraction NATIONAL PLAYERS—"The Girl of the Golden West.” Out of the romantic adventures of his past David Belasco, a quarter of a century ago, wrote an idealization of California in “The Girl of the Golden West,” which the National Theater Players will revive this week, beginning tomorrow night, Not since the original company played here, in 1907, have theater-goers of Washington had the opportunity to view the play. There has been, of course, a reason for this. “The Girl of the Golden West” is a stupendous under- taking for any theatrical company. It requires not only a_capable cast, but a large one, since there are 21 active characters in the story’s unfolding, in addition to men and boys of the camp and the ridge where the action takes place. ! ‘Written with Blanche Bates in mind as “the Girl” this celebrated play of David Belasco created a stir in the the- atrical world when it was launched in the Belasco Theater, Pittsburgh, the night of October 3, 1905, going to New York one month later, November 14. There was great discussion over the authenticity of its frontler character, afterward cleared up by Mr. Belasco himself in his statement, “I know the period of '49 as I know my alphabet, and there are things in my ‘Girl of the Golden West’ truer than any of the in- cidents in Bret Harte.” He referred pri- marily to criticism leveled against the great scene wherein the discovery of a bandit in hiding is made by a drop of blood falling from the ceiling on a sheriff's gauntlet. Blanche Bates, the girl, had hidden the road agent, Rob- ert Hilliard, and the discovery made by the gambler—played by the late Frank Keenan—is one of the most thrilling moments of the play. Elaborate preparations have been made by the management of the Na- tional Players to produce “The Girl of the Golden West,” in four acts, exactly as David Belasco might have done. The cast of the players will present Edith King as the Girl, Roger Pryor as the bandit and Robert Brister as the sheriff. Matinees will be given on Wednesday and Saturday and, if the enthus the play deserves is manifested, probably on other days. Englana Honors Belasco. AVID BELASCO has received notifi- cation of his election to the board of governors of the Shakespeare Me- morial Theater at Stanford-on-Avon, England. This is the advisory board or cabinet which works in conjunction with the executive council in_directing_the affairs of the Memorial Theater. It is composed of well known men and women of the arts and stage throughout the world. His majesty King George V of England is the patron. Mr. Belasco, it is further announced, has accepted a play from B. Harrison Orkow, the title of which is “Prison.” The author is a promising young writer who has been doing excellent work for both the stage and pictures. = g " . " About “Noah's Ark. N “Noah's Ark” 5,000 extras were em- ployed to make the biblical se- quences and huge tents and cafeterias had to be erected to feed the workmen and players. Sets of mammoth pro- portions were built for-scenes, of which the festival of Jaghut was the high spot. One group of these buildings oc- cupied more than two city blocks. Two thousand workmen, more than eleven hundred of whom were engaged on this one temple group alone, were employed on the “Noah's Ark” set. Art creations which, it is estimated, took hundreds of persons a lifetime to make were reproduced as a decorative background for this picture, prominent among which was a great tapestry which' the art department of Warner | Bros. designed and executed in_likeness | to originals believed to have hung in | the pagan temples of Noah's day. The | tapestry measures 200x200 feet and is said to be the largest interior decorative plece ever bullt for a motion picture. Animal Dialogue. AND now the wild animals have gone “talkie.” Lions, leopards and tigers at the Luna Park Zoo in Hollyood have just made scenes in their first dialogue and sound plcture. It was “The Girl From Woolworths,” starring _Alice White. With & microphone placed in the cen- ter of the arena, and with the camera men stationed safely outside the bars, the various animals “did their stuff,” contributing dialogue in the form of <narls, growls and other favorite phrases of the animal kingdom, while their trainers spoke words of command. Also safely outside the arena were the star, her leading man, Charles De- laney, and the other members who were playing thé part of audience at me‘ EDITH KING -National Columbi ] & DOWLING and ARIAN NIXON- ] ° QSEE/‘ZGfi%DM Y “Jhe WEAVERS Little ON THE BROADWAY STAGE A Review of Theatrical Affairs Along the White Way By Percy Hammond. MONG the theater's many mot- toes is one which says that only the lighter forms of entertain- ment are popular in warm weather. Any Broadway gnome will tell you that when Summer comes the playgoers tire of serious drama and seek relaxation under the golden tents of folly. Let them but see the tender blue of wistful skies, smell the petunia’s | fragrant odors, or hear the robin bill and coo, and they will relinquish their attachment to passion’s whirlwinds for contacts of a frothier character. Then is the time for’ solemn plays to exit, leaving the boards, as they have been | called, to the frivolers of farce and extravaganza. But the drama's rules, like those of automobiling and the liquor business, are fragile. It frequently disregards the most reasonable regulations, thereby filling the lives of its practitioners fuil of exciting uncertainties. It has been said of the theater that it is the most treacherous of the occupations. The credulous innocents who depend upon it for a happy livelihood are oft be- trayed by its fickleness, and even the most wary of them are liable to disap- pointment. The Theater Guild, for in- stance, has had faith in the promise that such a long and solemn marathon as “Strange Interlude” would be neg- lected by playgoers during the months of heat and humidity, and that it would wither and die, making room for some- tLing loose, feathery and seasonable from Vienna or Budapest. So for weeks the guild’s announce- ments have proclaimed that “Strange Interlude” is in its last days. Mr. Moeller, Miss Westley, Miss Helburn, Mr. Langner and Mr. Wertheim have said to it “Here's your hat—what's your hurry?” as they waited with polite im- patience to put_the shutters up and lock the doors. But despite their hints, “Strange Interlude” declines to be evicted and threatens to remain indefi- nitely. It is now in its second Summer and the guild’s governors are dismayed by its reluctance to depart. Just when they suspect it is about to leave it settles down again and says “I think I'll stay another week.” Most of the Broadway matinees on Memorial day were not attended. It was a hot and patriotic afternoon, and the drama lovers felt the lure of out- door recreation upon the golf links, lawn tennis courts and bathing beaches. Many trivial indoor revues and farces were neglected on that holy day for pleasures less confining. The ther- mometers were all agog with activity, and the theater’s temptations were at their ebb. Yet those who were anxious to see “Strange Interlude” were so numerous that Police Commissioner ‘Whalen was almost asked by the guild management for advice as to how a ‘mob should be stemmed. ‘The career of “Strange Interlude” is just another infraction of the drama's feeble ordinances. Though it reeks with ‘h‘dr. O'Neill's Yankee sultriness, we love $ fi&‘ song) as much in June as we do in January. _Another evidence that tem- perature has no influence upon drama loving is the success of “Journey's End" —that irresistible collaboration of Mo- loch, “Alice in Wonderland,” and the demon Rum. In case you suspect that grave plays are abandoned in Summer, try to get into “Journey’s End” for less than $11. * ok ok X HE Players' revival of “Becky Sharp” in collaboration with Langdon Mitchell and William Makepeace Thack: eray s now something between spilt milk and a museum piece. Produced last Monday night with all the artistic fervor of artists interested in art alone, it was a fresher show, in opinion, than “The Royal Family” *Jonesy,” “The Jade God" or Mr. Drinkwater's sericomic, cheaply antic and prosperous horseplay, “Bird in Hand.” “Becky Sharp” now wends its familiar way to the catacombs, there to remain rest- lessly until it is exhumed again by reverent sextons interested in the dead yet alive near-classics. ‘Though enthusiasm affrights me nnd‘ I tremble every time I compliment a show person, I dare to say that Miss Mary Ellis as the “dismally precocious” Becky Sharp is as satisfactory a coun. terfeit as you will encounter in yous drama-loving career. I have not here- tofore included Miss Ellis in my census of first actresses, since she has limited her talents, 50 far as I know, to the im- personation of uninteresting heroines, Whether of song or prose. But as the cheating forthright, sly, candid, chaste, ornery, kind, cruel, dull and witty Becky Sharp she is a fascinating com- plexity, and a more believable human being than her creator ever thought she would be. Give this young artiste what is knownyas a break in a regular play, and she® will, I prophesy, do great things, equaling, if not surpassing, the | art works of Miss Eva Le Gallienne, Miss Blanche Yurka, Miss Lynn Fon. tanne, Walter Hampden, the Dodge Sis- ters and Willlam Faversham. (Copyright, 1929 . Dead Duck Famous. 1 'HE most famous bird in motion pic- tures is dead. “Waddles,” the duck, which made her debut into films with Louise Fazenda, has just died in the arms of her mistress in Hollywood. “Waddles” and Louise Fazenda start- ed together at the Sennett Studio, and many of their comedies were made riotous by their combined efforts. When the duck became too old for work, Mack Sennett presented her to Louise, and she quacked her last quack at the clever comedienne in the home she helped earn the money to build. Many actors who made successes in silent pictures have redoubled their popularity in sound films. Who knows what the future held for “Waddles” had Theater Outdoor Amusements ! b i GLEN ECHO PARK. Recommended for “that tired feel- | ing,” for lack of pep, blues and other negative qualities, Glen Echo Park, Washington's nearby amusement resort, may be reached by fast and comfortable car ride along the cool Potomac or by motor over excellent roads. Its many |and diversified amusements include a | ride on the coaster dip, bigger and bet- | ter than ever this year, the Derby racer, | the aeroplane swing, the old mill, the | carrousel, the whip, the caterpillar, the | scooter, the midway, in fact, 50 amuse- ments in all, any onc worth a visit to | the park. | Dancing may be enjoyed in the large | ballroom “every evening except Sunday Tom 8:30 to 11:30 to the strains of McWilliams' Orchestra. Due to its location in a charming | wooded land and its proximity to street | car service from all directions, Glen | Echo ranks high as a picnic ground, |and the management encourages this form of outing, and has installed new benches everywhere and beautified the grounds and walks around the park. More than 200 employes, trained in courteous service, are provided to ren- der service, | i MARSHALL HALL. Pleasure trips down the historic Potomac are -offered by the manage- | ment of the excursion steamer Charles | Macalaster, which makes three trips | daily, leaving her wharf at 10 a.m., 2:30 |and 6:45 pm. On Sunday the morning trip is delayed a half hour, until 10:30 o'clock. |~ At the Hall will be found the roller coaster, the whip, the Venetian swings and other thrill devices, including, of course, a big carrousel. A large dance pavilion provides free dancing at the water's edge, always insuring cool breezes. Shady groves and well located benches invite picnic parties. On week days only, the steamer stops at Mount Vernon on her first two trips. A Scotch Story.- {DDIE QUILLAN got into an argu- “ ment with Russell Gleason as to which of the two had made his stage debut first. Russell claimed priority, inasmuch as his grandmother had carried him_ on the stage at the age of 3 months. Ed- die countered with the statement that he is a year older than Russell and appeared on the stage as soon as he could walk. Russell naturally wanted to know just how old Eddie was when ! he learned to walk. “Dad” Quillan then appeared on the lot. Russell put this question to him without letting him known the reason: “When was Eddie first able to walk?” “Dad” Quillan, who claims Glasgow, | Scotland, as his birthplace, thought for a moment, then with twinkling eyes replied: { “When Eddie was a year old his mother and I feared he would never try to walk, but just about that time Glasgow decided to raise the street car |fare, and, true to his Scotch instinct, darned if Eddie didn't learn to walk wlgfln n“rg&nth.” ik ussel ”mQ uring, then grace- ully gave ups'. = 5 upy “ /V\ Seere /raom MOTHERS Boy” © Rralto ARILYNNE. DAVIES- Fox (S7sge) ASHINGTON has always been a lover of repertory, and during the past quarter of a century has devel- oped local companies in stock work that have won wide reputation. The Colum- bia Theater, in the days of Bill Dwyer and Joe Luckett, had one of the finest. But it was not so long lived as its suc- cessors, even with the brilllancy of its players. The late Fred Berger and Frank Metzerott, who also has crossed “the great divide,” beginning modestly, eventually developed a company that fairly packed the Columbia Theater from pit to dome during the long Sum- mer months and left a city of saddened hearts when it closed down for the regular season. Then came Izetta Jewell and her likewise famous company under the management of Jim Thatcher, and the Belasco Players with Everett Butter- field, who also has crossed the bar, each winning hosts of loyal patrons who those noted companies. But it has remained for Manager | ter Players, to break all records, and | one of these records is the inspiration Theater. Manager Cochran’s players | are celebrating this week their one- | hundredth week of continuous operation —barring, as a matter of course, the intervention of the regular seasons dur- ing that unmatched career of success- ful play presentation. In past seasons the National Players have opened their season in April or in May, but this year their start was made in February be- cause of the lack of road attractions and the general lack of merit in those that might have been secured for a Washington- engagement. And Wash- ington, quick to recognize the advantage, has responded splendidly to the move. All this, however, has not been a child’s choice of taking up this and lay- ing aside that, so far as Manager Coch- ran is concerned. It has meant colossal labor, in season and out of season, and some idea of the undertaking may be gleaned from the consideration of the outstanding facts connected with the enterprise. ‘Thus far, all told, the National Play- ers have presented 91 days. Each has gladly recount even now the days of | Steve Cochran, with his National Thea- | | for the synthetic centennial announced | | for the current week at the National | Why the Celebration been given what is known as an origi- nal production; that is to say, it has been constructed in its every detail in the studios of the National Players. Not a piece of scenery has been borrowed from old productfons, but every set has been constructed brand-new and paint- ed by Scenic Director Charles Squires; the properties provided and the costum- ing originated with the players them- selves. The total cost of the scenic ef- fort alone might be roundly represented in the snug figure of $350,000, and with the salaries and other expenses covering the five seasons of operation, this figure be swelled to the amazing sum of about $600,000—an _item which strongly evi- dences the fact that art also has its commercial side. But it is not mere money that has helped to bow the back and mark e youthful brow of Manager Cochran and to make up the gigantic task that he and his splendid players have achieved in their effort to serve Washington in the theater. Nor would it, probably, in- terest the reader to mention the count- less other things that have contributed to the success that has made a centen- nial celebration possible. But time and »ffort and heartache and sleepless nights and busy days have all contributed their share. And that is why Manager Coch- ran and his National Theater Play- ers feel that they have a right to their celebration. And they are celebrating confident that the people of Washing- ton, who have been the encouragement and inspiration of it all, will want to celebrate with them and to the utter- most. he Girl of the Golden West,” David Belasco's masterpiece, one of the im- | perishable gems of the American thea- ter, has been chosen for the celebration. In it Edith King, Roger Pryor and Rob- ert Brister will endeavor to match the characterizations _made famous by Blanche Bates, Robert Hilliard and | Frank Keenan. There will be others in | the cast, but these three will represent the outstanding characters. There are above 20 performers in all. And bear in mind, the offering is not that of & wealthy producer, backed by thousands, but simply the effort of a lifetime of Manager Steve Cochran and his popu= lar National Theater Repertory Co. BY FRIEDRICH ZELNICK. 'HE theater and the cinema have two traits in common, they assem- ble a number of people in one room and ask the audience to look upon their actions and consider them. This au- dience wants either to be entertained or excited. The play or the film must in these respects be worth their while. The fact that the hero or heroine have got- ten together for the final “clinch” after six or eight reels of being apart is so stereotyped that it has made it impossi- ble to go on asking audiences to accept even such romanticism as film-fare. So instead of presenting the amorous conflict of two uninteresting people | again, I decided to transfilm a story that has made a definite impression in the field of literaturc—Gerhardt Hauot- mann's “The Weavers.” In “The Weavers” we do not deal with the petty conflict of unimportant individu- als—but the conflict of two worlds— that of capital and labor, seen through the cyes of the young son of a weaver— | the symbol of labor. In the film “The Weavers” we have “Movietone” without Movietone. I mean that a song, a “Hymn of Hate,” created by the workers against the cap- italists serves to ignite the spark which needed just that to set their souls on fire and which serves not only as the nucleus of the revolt but as a motif throughout the film, recalling an anal- | ogy with music. H Before there was even such a thing as Movietone I had long harbored the ! idea of using this song in Hauptmann's “The Weavers” as a motif, an inspira- tion around which to create a social | study of the conflict of the two classes —and I thought that the idea and the resultant execution of it, if it were suc- Filming ‘“The Weavers” Imlnn. he pressed my hand warmly and expressed his great pleasure, not only because I had faithfully reproduced his book into a new medium. but because I had succeeded in capturing something of his early youth, that timespirit of zeal and fire and boundless endeavor. During the making of “The Weavers” I assimilated many of the ideas of caricature, of satire and ridicule of Georg Gresz, the radical Berlin painter, and had always a third camera perched upon the ceiling, or on the floor, to catch a distorted or grotesque effect which would heighten my desired effect. I also restudied the paintings of Breughel, Dutch master painter of the eighteenth century, for his remarkable studies of peasants and workmen. 1 don't suppose that my early use of camera angles seems startling any more after the flood of newer angles in Rus- sian and German pictures recently but “The Weavers” did represent, how- ever. one of the pioneer uses of camera craftmanship. Incredible as it may seem, “The ‘Weavers” was made in 13 days, so that my players, my cameramen and even myself would not have a chance to lose even a particle of the tense mood we needed to make it—an intensity with which the film was started and completed.” Lenore Ulric Signed. ENORE ULRIC, bright particular star of such widely varied stage pieces as “Kiki” “Lulu Belle” and “Mima,” has put her signature to a con- tract to make talking pictures for Mr. Fox, along with such as John McCor- mack and Will Rogers cessful, would be worth seeing. Ergo, I made “The Weavers.” b aved ibe 8l o Haupte| Miss Ulric has already been assigned the stellar role in “Frozen Justice,” an €2l5: of i northland,