Evening Star Newspaper, June 9, 1929, Page 55

AMUS EMENTS. THE SUNDAY STAR. WASHINGTON, D ¢, JUNE 9 1929=—PART 4. ‘RMUSEMENTS." The Moving Picture cAlbum By Robert E. Sherwood. HE talking pictures have been in existence for not much more than a year, and they have al- ready managed to develop their own rubber stamps. Looking back over the past season, we may ob- gerve steady and commendable improve- ment in acting. direction, photography and construction—and an increasingly deadly monotony of subject matter. Consider the appallingly large num- ber of “bac tage” dramas, from Thl‘_ Jazz Singer” and “Mother Knows Best 10 “Broadway” and “Burlesque.” There are more—infinitely ©f the:e to come. They may differ one {rom an- other in quality and lAI\r Broadway Melody” differed frem “The Rainbow Man,” but they are all varia- tions of the “even though your heart i breaking—laugh, clown. laugh” theme which was offensively stale long before the invention of the V phone. Consider, also, the array of courtroom melodramas in which the real villain has always turned out to be the corpse, who, if he hadn't been murdered by the beautiful heroine, would undoubtedly have been ext ed by the board of health. At the moment. the supply of courtroom melodramas seems to have been exhausted, but a thousand and one willing authors are now hard at work turning out “another Mary Dugan” or *“another Madame X It seems that the movie industry is up to its old imitative tricks. One big hit provokes innumerable others, pat- terned along exactly similar lines. If | the public di interest_in re- | ligious lessons (as idenced by the suc- cess of “The Miracle Man") or in fron- tier epics (the for 3 Wagon") or at “The B must be g epies and doug! is glutted. The film producers, greedy for quick profits, have squeezed every lemon until it was dry, and then. unsatisfied with | the output of juice, they have squeezed | it some more. It was this tendency m{ overdo everything. to _over-estimate | everything except the public’s patience, that brought about the downfall of the | silent drama as the world's greatest me- | dium of entertainment As Winfield R. Sheehan said. the | movie industry entered in 1914 a period | of golden prosperity, which came to an end 10 years later. From 1924 to 1928 the red ink flowed freely. Now, thanks to the enterprise of the Warner bovs in exploiting a despised mechanical nov- | elty, business is booming. The celluloid dealers have embarked upon another period of prosperity | But it won't last, as the first one did, | for 10 years. It won't last half that | time. unless the producers come to & realization of the blatantly obvious fact that the monotonous dullness of their | product lost them their public once. and | will inevitably lose them their public again, *ox ok * | HE movle moguls have always bet | their money on “sure-fire stuff” | and all but a few of them have rigor- the public lessons, frontier nees u |ously discouraged experimentation and exploration in new fields. Nevertheless, the men who have actually made movie history, who have kept this industry alive, were the courageous adventurers who took bold chances in departing from the established standards of sure success. They, so it happens, establish- ed new standards of sure success for the future. D. W. Griffith was the first of them Although he could have continued, com- fortably, to satisfy his employvers by grinding out the old siuff, his restless energy impelled him to a wild and ap- parently suicidal gamble. He made The Birth of a Nation” and thereby, in 1914, inaugurated the golden decade! In 1920, in the period of post-war de- pression, a young director named Rex Ingram was expelled from Universal City because he was wasting Mr. Laemmle's money on a lot of erazy, fu- turistic, impractical effects. It was the down-and-out Ingram who thereupon directed “The Four Horsemen of (he Apocalypse,” the biggest money malker that the screen had known up to that time. This picture brought fame to another previous failure—Rusiolph Valentino. In the same year, films were imported for the first time from Germany—" Pas- sion.” “Deception.” “The Cabinet of Dr. Caligari,” etc. They were made by men who know nothing of the laws of the box office, and they consequently exert- ed an immeasurably stimulating influ- ence on the movie industry in America. Behind every important the screen vou will find a story of gal- lant failurg James Cruze, then un- known, made an exquisite picture called One Glorious Day,” which flopped mis- erably. His next offering was “The Covered Wagon.™ King Vidor had been, for years, a routine director when he suddenly de- cided to forget everything he had ever | learned. He produced & gruesome drama of the Southern swamps called ‘Wild Oranges,” and in that worthy failure was discovered the genius that went into the creation of “The Big Parade. The instances of Griffith, Ingram, Cruze and Vidor are not unique. Clarence Brown, Joseph von Sternberg, Raoul Walsh, Herbert Brenon, Ernest Lubitsch. Erich von Stroheim and Frank Borzage are others who tri- umphed because they had the courage to flout the “sure-fire stuff.” There have been a few glimmers of this independent, experimental spirit in the movies since the advent of sound, but there will have to be a great many more. There will have to be many gloricus failures before there can be glorious successes Gold 15 never discovered by corpulent gentlemen who sit in paneled offices and map out selling programs for the Fall and Winter trade, Gold is dis- covered by pioneers. (Copsrigh 920 Supernatural Lore QLAYING an enemy by laving a “death-curse” upon him is the | really high-class and eristocratic meth. od of accomplishing this objective, ac- cording to George G. Seitz, whose pro- duction, “Black Magic,” is based cn witcheraft. The director did consider- | able research work on the subject before beginning the picture, and now rates as an authority on supernatural lore. “In the middle ages, the favorite method of insuring the speedy demise of one's rival was to make a wax figure of him,” says Seitz. “This figure was then transfixed with a long needle, and if the magic words to accompany the rite were spoken correctly. the Tival im- mediately fell sick and died. With cer- tain Indian tribes it was necessary to | procure a strand of hair from the in- tended wictim and to go through elabo- rate ceremonies in order to get rid of | him. The old Egyptians had a compli- cated ritual for the same purpose which required, among other things, a sacred cat, a papyrus scroll on which the rival's shadow must have fallen, a sort of Macbethian witches' stew that in- cluded choice sections of the anatomy of frogs, water snakes the moon. “All these methods. however. a Jot of preparation, whereas ‘death-curse’ system as used by Papuan_ natives of the plot in ‘Black Magic,’ is simpli ity fiself. the aid of the death-god. names the object of his hatred. obligingly curls up and dies.” needed the A Synthe ROMPT action by Harry Redmond, | explosive expert at First National studios, effectively substituted for the usual diving activities in rescuing film players from a sunken “submarine A large, deeps“tank” had been built on the river bed of the big Burbank Calif., studio. Here Virginia Valli and Jason Robards were submerged in a “synthetic” submarine for a scene of a % on, “The Isle of Lost v the conning tower and super- structure of the “sub” were built for this scene, the real vessel being used for others. Under water was a stone- ballasted hull. which could be raised or submerged by outside counter- Miss Valli and Robards were merged for a scene that lasted six min- A Father’s JFATHERS in Hollywood ought to rise | in revoll because mothers get all the credit Father's June, ought Mother's day. ably more than m the fathers we Douglas Fa s won an env the third Sunday be important But really it isn't, from home iink of day. in t as because fa is nway But just know! I has a scn \ame for him has a han ng good on I has 1 father of | [ Bannister has one boy 21 years | This father and son are ways James dialogues the pic- works, They James Gleas old. Russell close in many dio n which Russe s His N HOLLYWOOD, where clothes as- materially in making the man ancient adage has it, Irving reputation of quite trating the was down in Death he fell into with the members of his entourage in adopiing the neg which is dictated by temperatures rang- ing from 110 to 125 in the shade—if one can find any shade. In fact, he did the bulk of his directing in a gym shirt and the lightest flannel trousers in his ‘wardrobe. “Shoshone Jim,” an old Indian in the valley of sand and swelter, attached himself to the outfit when it arrived, with an offer of invaluable local infor- mation in exchange for a promise of flour and bacon to equip his next prospecting trip. On the day the company was leaving for the Fox studio in Hollywood, old Jim showed up, searching for Cummings. “I want see chief,” he explained. “Chief say he give Jim 'flour and bacon." The property man he questioned was sist as the Cu unconscic well d However Valley recen s the what ed when he y scenes, They work al tiie | | more Indian Name Sub” When Director Irvin Willat gave hic ¢ utes, the signal to raise the “sub” the -p-; paratus would not function. Later in spection proved that the ballasted hull had leaked. Workmen were set at tear- ing down the wall of the tank to lower the water, for no artificial ventilation of the compartment in which the players were confined had been arranged. The players, however, were suffering for want of air already. Redmond and dynamite were summoned. and within five minutes the sunken submarine once more emerged—thanks to the lowering of water in the tank. Miss Valli and Robards had been below the surface for 18 minutes. All other submarine “shots” were taken near Catalina Island in a real submersible. The conning tower scene was necessitated by a sound-effect de- ired for the submarine scenes Day Yarfi live in the same home and are pals in every nse of the word. William J. Cowen, famous director &t £. O. the proud father of liitle vears old. Her mother is the 1 writer, Lenore Coffee. Mr s devoted to his little daughter d Webb, director, has a déugh- vars old who is East in school Beaudine. another director 1d 1 Milton Sills, Alan Hale are fathers Boles, who scored in “The D ng.” is’ the father of two daugh- t Both are studying music now irom Mr. Boles, with the intent of fcl- I him into picture work. Har:y the stage star married to Ann Hardy, is the father of a very voung daughter born this Spring. But for all that, mothers are much popular in Hollywood Nozh ters. fathers “Chicf? What chief?” he demanded “Shoshone Jim" pondered only a mo- for an identifying sign. Chief No Shirt,” he grunted, and Cummings now has an Indian label, m Crime Detection. JBELIEVING that the French Surete and of the most scientific efficient police organizations in the world, the United Artists’ studios had exact duplicates of its crime-detecting apparatus made for the murder se- quences in George Fitzmaurice's pro- duction, “The Locked Door.” By far the bulkiest of the instruments is a scale camera, mounted on gigantic, ladderlike tripods, which photograhs the position of a body on the floor and takes in much of the surrounding area The equipment was consiructed in the studio from photographs and scale drawings sent for the purpose by the Surete. The French organization came [to the studio’s aid when several re- | quests by United Artists to leading po- |lice departments of the country for IRy aclentifi. apparatus for geime. den 4p-use in those % is one success on | beetles and | | crocodiles, and jrst the right phase of the | des Champs E which forms the basis | The sorcerer merely invokes | and the victim | Stage Notes YNN FONTANNE, opening the of “Caprice.” with her husband, Alfred Lunt, received “such an personal success as has not been known in the London Theater for years.” The play itself was generally considered an unworthy vehicle for “the finest comedy acting by an English-speaking actress | scen here in a long time.” There is a | marked quality of irony in Miss Fon- tanne’s reception. Not so many years back she was visiting the London man- agers’ offices on employment bent with | marked unsuccess. In those days she | won rebuff; now she wins extravagant applause. New York dramatic editors have been | busy recapitulating the theater season | up to the first of June, erriving at the | general conclusion that. while this year | has not been as fat as last, it has been far from defunct. The New Yorl lists 224 productions as against 278 last year and 264 the year before. There were 23 musical comedies, 4 oprettas [13 reveues, 16 revivals and 5 foreign l\\l.\ll. tions. The rest were straight pro- ductions of one sort or another. Talking pictures are credited with having | shelved a good number of mediocre ol without having materially af- | fected the better productions. Rehearsals of “Sce Naples and Die,” by Elmer Rice, author of “Street Scene. this season's Pulitzer prize drama, wiil start early in August “Cradle of the Deep.” by Joan Lowell is to be made into a play. Washington will probably see it early in the Fall, according to Miss Lowell's expectations expressed on a recent visit Earle Boothe, whose current produc- tion on Brodaway is “Jonesy,” is plan- ning to go to Paris in July to set up an American theater there, he says. He intends to recruit his acting talent from the American population in the French capital Four foreign capitals seem likely to ponsor simultaneous _productions of fachinal” by Sophie Treadwell, which Arthur Hopkins did early this season in New York. Moscow and Paris showings have been previously arranged and now Swedish and German rights to the drama have been bought The Italian company d' Arte, which has had a successfu! season in New York this year under the direction of Commendatore Giuseppe Sterni, presented its seventh and last fortnightly offering Monday evening in honor of the director. The play was Luigi Pirandello’s Roman domestic drama, “Tutto per Bene,” freely trans lated as “All's Well That Ends Well, or “All for the Best.” The work had never been given in New York before. though Broadway was familiar with the Italian playwright's “Six Characters in Search of an Author” and “Right You Are if You Think You Are.” ertrude Lawrence goes into rehearsal in “By Candlelight,” in London, in early August. _Gilbert Miller will bring the piece to New York in the Autumn. The Teatro d' Arte group, in New York, gave ly in Miss Lawrence’s honor. Recent London openings have in- cluded a double bill of St. John Ervine's “Jane Clegg” and the “Medea” of Euripides, with Sybil Thorndyke, at Wyndham's Theater; a play called “Why Drag in Marriage?” at the Strand, and another called “Sybarities” at the Arts, The Theater Guild's presentation of “Porgy” has moved in London to a {suburban theater. It ran seven weeks in_Picadilly. | Ben Hecht and Charles MacArthur, co-authors of “The Front Page are | reported to be peddling the book and { lyrics for a revue coyly billed as “Hearts and Flower. It is to present a kaleidoscopic picture of life in New York. The Theater Guild has bought a new play from the pen of H. R. Lenormand French dramatist, and may bring it out in the Fall. The play is called “The Coward.” The guild did Lenormand’s “The Failures eral years ago. His work “Une Vie Secrete,” at the Studio is one of the sea- son’s_successes in Paris present. A play which waited 283 years for a production has been given this year in | Amsterdam. ~ Written by the ~Dutch author Joost van den Vondel, it has been for generations a literary classic. known in schools and colleges, but never seen in the theater. Created as a tribute to Mary Queen of Scots, be- headed before the author's birth, in fact, the epic was precluded from stag- ing because of religious prejudice, sinca it championed Catholicism. Van del { Vondel was even fined 180 guilders for | It was now daybr wriung it “ Theater Guild’s London production | electrifying | Times | of the Teatro | | | the work an Italian presentation recent- | | early before the crowds arrived. DAYS I AND THESE | |in the off-screen emotions of otherwise | Margie K When It's Over. | OPHISTICATED Hollywood b@tamrs{ sentimental Hollywood on the last | production day of any picture. An explanation of this is offered by members of the cast in “The Studio | Murder Mystery,” and is a revelatior: blase performers | “When the final scene of a picture Is recorded.” says Doris Hill, “something | happens to the family spirit of the cast for after several weeks of the closesi friendships and sympathetic bonds you | face a parting of the ways You've shared make-up _boxes. | grumped or enthused over midnight lunches which punctuated a night's work, swapped dressmakers’ addresses and encouraged and advised each other | in camera work. A real cameraderie is effected. After the picture is finished | many of your erstwhile production pals leave the studio entirely. And suying | £00d-by I find is & real hardship.” Frank Tuttle, who directed the pic- | ture, confesses o a similar reaction. | “My cast in each picture wc o plains, “becomes a group of human b ings. Production isn't very far advanced | before vou learn the personal traits of | your players and find Jovely dispositions in persons whom you thought would be | difficult to direct. " The end of a picture reminds me of the end of a icn-day | voyage at sea when it comes iime to | MARY BRIAN | In the riding habit of 1840 and Doris Hill in the riding habit of today. Miss | Brian appears with Charles “Buddy” Rogers in “A Man Must Fight.” | A _l?ez;cock ’I:aie HOP early.” Charles Mack of Moran and Mack followed that slogan, bought a peacock, and thereby lies a tale more colorful than the peacock Mack, who is the lazy-voiced member of the Two Black Crows' team, had been working one of those part-day and | part-night shifts on “Why Bring That | Up?” at the Paramount studios, when | he received a day off and wanted to go | shopping. Friends told him to get downtown Early to Mack meant early, and he arrived | on Broadway at 7 am. The only store open was a pet store. Not wishing to waste any time, Mack strolled into the store, saw a peacock. and bought it. He turned it loose in the garden of his Beverly Hills' home A few days later Mr. and Mrs. George Moran spent the night with the Macks Just before daybreak Mr. and Mrs. Mack were awakened by cries for help agonizing, terror-stricken, blood-curd- ling yells. It meant only one thing murder! Moran and wife were being | slain. Mack decided. | Seizing an unloaded revolver for cour- age. Mack rushed to the guest bedroom, chilled with fright, calling, “I'm ceming George!"” Imagine his embarrassment. The Morans had been frightened out of bed by his cries. Mack backed bashfully out of the room. Moran and his wife shook their heads Strange person. Perhaps Hollywood was getting the bet- ter of him. they concluded ack in his room. Mack heard the cry sgain. It was from outside. It dawned on him that it was the pea- cock. He decided he must quiet the bird or the neighbors would be com- plaining Downstairs he went. had been perfectly at home in the garden, had escaped and was moaning about his strange location somewhere. | That agonizing cry came again. It was from the roof. | Mack began tossing stones at the fowl to make it come down to earth.| | ‘The bird, which it A few pebbles brought results, but the | SEEI AND HE! RING bird fluttered over the house into the yard next door. As Mack was trying to scale the fence, attired only in sleeping gar- ments, the neighbor made his sleepy appearance at a window. Abashed once | more, Mack retreated Once back in his room, he concluded that the only humane thing to do was to go bring back the peacock before it was killed by a dog or starved to death. Slipping on_bedroom slippers and a bathrobe, he began his search. Near | his home is a larve. ploughed fleld. The peacock chose this as a race track. | Mack followed One slipper became lost. Mack threw | the other away. The game became fun | to the bird, and it began a series of winged glides, touching its feet for a fresh start every 20 feet or so. Mack gave up. Arriving milkmen, paper boys and early-morning motor- ists gazed in puzzlement at this bare- foot man searching for his lost slippers in_the ploughed field. | Yesterday afternoon a~small boy re- | turned the peacock and received a re- ward. Mack still has the bird. 3 N - Ol-:[iging Goobers. MANY great inventions are said to have resulted from an accident, We hasten to chronicle one in the mak- ing of sound pictures, with the innocent and succulent tuber known as the pea- nut the occasion of the discovery. Nibbling on a handful of peanuts at the Pathe studio in Culver City the other day during the shooting of scenes, Willlam Boyd, the star, decided that he had plenty. “These peanuts are terrible,” he said, and threw them away. They landed on A bass drum, beating a tattoo that would shame a machine gun “What's that?" asked Howard Hig- gins, the director. “Peanuts,” said Bill. | “Peanuts your eye.” responded the di- rector, “it's the airplane effect we are looking for.” Experiments followed. The proper and realistic effects were eventually cured with the bass drum, six aspirin tablets, one pair of dice, an electric fan and one handful of shelled pea- | nuts. Boyd furnished the peanuts, Carol LEILA HYAMS, Metro. | exhibitors. . at 12th—Cont. frem 10:30 ~——NOW PLAYING A Paramount Picture EDDIE OWLING Famous Singing Comedian and B'way Star in 1‘ THE RAINBOW MAN With | MARION N!XON ; FRANKIE DARRO . SAM HARDY N A New All-Talking and Singing Hit ADDED ATTRACTIONS oldwyn-Mayer player, sees and hears her new picture, “The Idle Rich." | than | The apparatus Is used by the film-cutters when they prepare pictures for the COOLED BY REFRIGERATION F St. at 13th—Cont. from 11:00 NOW PLAYING An M-G-M SOUND Picture WILLIAM HAINES in @ story of Hollywood life “A MAN'S MAN” with JOSEPHINE DUNN —ON THE STAGE— HERBERT RAWLINSON a unit with circus thrills and night club frills “CIRCUS CABARET” SUPPLEMENTARY HITS Lombard the aspirin tablets, the prop boy the dice and Owen Moore dug up the fan. Now they all want screen credit for effects. Youth's Opportunity. | IT is the film youngsters of today, rather than the little-known stage folk, who will be the screen celebrities of tomorrow, in the opinion of John Francis Dillon, director who made “Ca- reers.” the new Billie Dove feature. | on points to three youngsters as examples of his contention. They are Loretta Young, Doris Dawson and James Ford Talkies will also help to bring out these potential stars, whose very in- experience and youth make them pliable materfal for directors and producers. he thinks. They have no traditional stage training to break down, according to Dillon ! America‘s edaintiest star in a comedy of in Gay Paree- 'S KISS Leon .Brusiloff, DON CUMMINGS - GORGEQUS ond Week for the Singing Troubadors MARIO & And the Master of Master of Ceremonies JOHN IRVING FISHER Fox Movietone News 1t Speaks | Streets,” the first dual role in & talking | twice on the screen at the same time, love errors EN TOLE S A Vitaphone Jalking Picture with CLAUDE GILLINGWATER s ON THE STAGE DORIS VINTON Recent Star of “Luckee G 40-FOX JAZZMANIANS-40 say farewell to passengers who have | been your buddies during the trip An “Extra's Ar;bition. ' WWILLIAM J. COWEN, directing “Half Marriage,” a Radio picture, made | an investigation recently, while 100 of the prettiest extras in Hollywood were | working on his set. This is what he found to be the present situation in ' filmdom | Eighty-five would rather be married than have a career. ! Seven would refuse to marry a mil- linonaire. One has a desire to become a opera singer. 1 Fifty want a home and children of their own. Twelve are taking singing lessons to help them along in sound pictures, Twenty study dancing. One s working in pictures to earn enough to study medicine in college. wo_are studying law practice it i iy Six are studying stenography at night. Ninety-four are not married. Four left college to work in pictures. Six- teen were winners of beauty contest. Twenty-two have had stage experience. Fifty-five have had some picture experi- ence. Thirty-six are professional danc- ers. Eight are good swimmers. Fort; three of the girls live with their fami- lies in Hollywood. | Only two receive a remittance from home regularly. grand | Becomes Technician. AFILM player's “art” is usually his first and only consideration. Mat- ters of production, and especially tech- nicolor details, are usually left for oth- ers to worry about. Jack Mulhall, however, had to be technical director, camera expert and | sound engineer to carry out succes: fully his characterization in ‘“Dark picture, in which he is not only seen but is also heard talking to himself! In preparing for the dual part, in which he appears as a policeman and | a crook, twin brothers, Mulhall learned | in detail the workings of the Vitaphone | recording system. With Director Frank Lloyd and the chief sound engineer, he went over the complete process so he could aid them in the difficult record- ing plan for capturing his two voices. He had to know his cameras, t0o, so he could make up for both roles and get the effect of similar lighting on ot ‘ LITTLE 9th, Bet. F & G SECOND BIG WEEK! New Dance Steps. 'THAT the musical screen will sup- plant the stage as a medium for introducing new dance steps within less F Arts Guild Presents than six months is the prediction of “TH ie, who has the ingenue role Kz, E WEAVERS” Ho all-dialogue musical extravaganza, now in production According to M an_ entirely type in younger generatio sistently attend is taking up the audient model for its new dances s Kane. who will in- new da the p which s e legitimate theater scre * De Putti * * Kraus * ** % Jannings * * * The Earle Theater Is Washington’s Cooling Station Always Comfortably Cool—Never Cold. Cooled by Regrigeration “cooL, BUT NOT COLD” a1 JASUA Ny N, " VITAPHONE'S GREATEST ACCOMPLISHMENT! Vitaphone Has Unearthed the Baried Treasure in Billie Dove’s Voice It Is Just Like Discovering a New Star and Adding It to the Old One. Never Has the Talking Picture Added s0 Much Charm to Any Star A 1007, Talking A 1007 Perfect rst National-Vitaphone : NOVELTY Atiraction SONG REEL “Ye Olde Melodies” Vitaphone Presentation “The Ninety-ninth Amendment” Acting and Dialogue That Will Always Stand as the Finest Ezample of Dram- 2 and 6:45 D. 6ngagemqnt Cxtra ordinary’ JOSEPH CASPAR'S VIOLIN ENSEMBLE 40 Violins Playing in Unison ‘LARGO” sy Handel He had to watch his position in rela- tion to the microphone so it would ap- pear as if the characters were talking to each other and mot into space and he had to learn two sets of dialogue and ' a_different voice for each. DIIMRAR 1343 Wisconsin Ave. DOROTHY JACK MULHAL L in Comedy. " FAN- DUMBARTON ‘WATERFRONT. _DANGO." _ SIDNEY LUST'S mep_* A RIERET e e 3 h S.E. NEW i Sadfelt”e CAROLINA " 4,3 ¢ 82 STANTON _“oizm4.¢ 5.0 LEATRICE JOY. BETTY BRONSON TAKOMA 0 srpusimst 5 CORINNE GRIFFITH in THE DIVINE ADY (Synchronized) PRINCESS 11" 5.35.5%; CIRCLE _*",8f CAMEO THEATER ™ Baer- M. TOMORROW _ and TUESDAY “HIS CAPTIVE _WOMAN" (Svnc. - Dial } VITAPHONE ACT. WARRING 'S ENNSYLVANIANS. FOX Manufactured Weather ~ maintaining a temperature of 70° Ph_W. 953 rON, Conducting” LA CELISE BROS. FOXETTES - 4 LAZARIN for Itself It Will Be Here Another Week! The Greatest Show That Ever Hit Washington! for ND WEEK A Veritable Miracle of Entertainment— Incomparable—Irresistible! Warner Bros! Gigantic Vitaphone Spectacle Thousands Led by COLORES COSTELLO GEORGE O'BRIEN 14th St and Park Rd. WEEK OF JUNE 9th SUNDAY AND MONDAY DOUGLAS FAIRBANKS “THE 1RON MASK” TUESDAY AND WEDNESDAY | JEANNE EAGELS 18th Street and Col. Rd. WEEK OF JUNE 9th BUN —MON.—TUE Her Fir - BILLIE DOVE In_the First National aphone Picture “CAREERS” WED.—THURS. BETTY BRONSON In Warner Bros. Talking “ONE STOLEN NIGHT” “GENTLEMEN OF THE PRESS” 100% A In a 100% Al-Talkie “THE LETTER” WIURSDAY AND FRIDAY. COLLEEN MOORE | : “WHY BE GOOD” | siromon RICHARD DIX In_His First All-Taikie “NOTHINS BUT THE TRUTH” SATURDAY | “THE DUMMY” 100% All-Talking CHEVY CHASE SeR%u&se s 5 TOMORROW- JEAR 3 n TETTER " (100 KING PICTURE) ' JU- COMEDY 1230 C St AMBASSADOR i 230 TODAY"AND TOMOKROW ~BILL DOVE i ALL-TAL "APOLLO TODAY = AND E. EN GOOD. SICAL ACC “AVENUE GRAN TODAY AND TOMORROW LAS FAIRBANK: A A ICAL ACCOMPANIMENT.) “CENTRAL 9t St Bet D and £ TODAY AND TOMORROW. -TEXAS GUINAN JEEN OF THE NIGHT Cl €100%s ALL TALKIE ) COLONY G Ave- & Farrasut 8. AND TOMORROW —BESSIE ANITA PAGE and CHARL “THE BROADWAY ME ODY." (ALL SINGING, DANCINI AND TALKING.) AND DANCING “SAVOY ' s TODAY RICHARD BARTHELM| 2 CARY RIVER A TA ? > SINGING. PICTURE TIVOLI 1ith & Park Kd. N.W. TODAY AND TOMORROW _DOUG- S FAIRBANKS n " THE TRC SICAL ACCOMP. | YORKuS=* TODAY and LeEN Moo 660D MR, SICAL ACCOMPAN OW_COL- VHY TOMORR in - BE in