Evening Star Newspaper, July 8, 1929, Page 12

OPENING ATTRACTIONS IN' WASHINGTON THEATERS METROPOLITAN— Show. Most notable, perhaps, about this new singing, dancing and taking effort, “On With the Show,” is the fact that it is the first to be tinted throughout with technicolor. An amazingly good, even and unostentatious job they have done on it, too. If the successors of this plece maintain the high standard which it sets, there is more than a liklihood that the colored film is here to stay. “On With the Show” somehow man- ages to include the principal features of the revue, extravaganza, musical comedy and back stage drama, blend- ing them nicely. This, backed by | splendid recording, good photography, intelligent direction, fine orchestral ac- companiment and _excellent acting, turns out a sure-fire box-office hit. The I Blue?” leading in_tunefulness and | presentation. Ethel Waters, the well known singing star, puts it over in her own rhymical way, and thereby nearly steals the show. of hav in these days of new faces, new voic and comebacks, seems assured of at least one stellar performance.- Here, Betty is at her best, easily leading all of the others (and there is a long cast of big names and great acting). She apparently sings, too, and if so, she has an_excellent soprano. To name and praise each member of the company in his turn with a praise demanding superlatives, would require columns of space. Let it suffice to say that they are all good, and pick out just a few of the higher lights. There are Louise Fazenda and Joe E. Brown clowning with all their inimitable antics; Sally O'Neill and William Bake- well in the juvenile leads in the back- stage portion and Sally and Arthur Lake in the same in the front-stage side. Sam Hardy and Wheeler Oakman assume the heavy leads, while the Fairbanks twins lcad the ensemble with their stepping. “On With the Show” is at best an ex- periment, @ rather daring one, and ac- ceptably a successful one. It is credited to Vitaphone, which here, as seems its custom, is first. If the all-natural-color, singing, talking and dancing picture becomes an institution, and there is more than a remote possibility that it | will, much it will owe to this, i!&l pioneer. At the performance, two eve- nings back, the only other diversion offered was a trailer announcement of the next attraction, “Twin Beds.” PALACE—“Fashions in Love.” Adolphe Menjou scores & personal triumph in his first talking picture, «Fashions in Love,” and, if one accepts the comments of several in the audience Saturday afternoon, never has he done better work than in this picture. In| the typical Menjou role of the so- phisticated, faultlessly groomed, fash- | jonably dressed male flirt, he talks with an accent, gestures in trie continental fashion and plays the pilano with con- siderable skill. In this pictnre we have, not the famed love triangle, but a lg\'e quad- rangle, consisting of one perféctly good | husband, one perfectly good wife, & second husband not so good and one| wife whose reason for existence is not | explained. Menjou, as you may have | guessed, is the famous pianist who can- | not or will not escape the attentions | of a lot of idle women. Fay Compton is Mrs. de Remy, his lovely wife, o0 | dependable to_be appreciated. John Miljan is Dr. Martin, a sclentist with his nose glued to a microscope. and Miriam Seegar is his wife, Delphlge, 8 silly little flirt. Although Menjou's success is unques- tloned, John Miljan gives a splendid impersonation of the scientist, sincere in purpose, faltering of speech and hesitant in manner, which rivals that of the star in the more sophisticated role. Fay Compton plays the difficult Tole of @ genius' lesser half so skill- fully as to win the evident sym- pathy of an approving audience, Her vocal rendition of “Delphine” is -espe- cially good. (If not hers, a good plece of doubling) Miriam _Seegar -does equally well in a less sympathetic role. On the stage Herbert Rawlinson, master, of ceremonies, presean.nn nr.l ray of talent in Frank Cambria's “The | Surprise Party,” which is as much of a treat as is the feature picture. It Jould be difficult to say just whom the honors should go to, s0 vigorously applauded were Zelaya, pianist, son of a former president of Nicaragua; the Lime Trio, acrobats extraordinary, and a youthful pair of tap dancers whose names were not on the billboard. Others contributing much to the suc- cess of the stage performance are Nell Jewell, vocalist; the Gluck Sorel Girls| and the Palace Syncopators. | Charles Gaige gives a delightful or- ganistic interpretation of a modern wedding, and an excellent news reel completes the bill. COLUMBIA- he Goes to War.” When Henry King undertook to make into a moive the Rupert Hughes' story, of a social butterfly who went to war, taking her fiance’s place in the ranks of battle to gave him from disgrace, and discovered thereby a new set of values by which to measure men, he had, fundamentally good film material. Un- | fortunately, he went the way of Holly-‘I wood flesh, melodramatized and super- sentimentalized his yarn, used miles of eelluloid for fight sequences which are wan repetitions of what we have al- ready seen a dozen times, tossed in| some comedy relief and turned over| the finished product to United Artists as “She Goes to War.” It is showing| this week at the Columbia. Eleanor Boardman is starred. The picture is mostly silent, with, however, an accompaniment of syn-| chronized music. Dialogue and song are | used two or three times, once when | Alma Rubens is shown with a dying| his mother, It is an incident’ potentiality for real pathos; its han- dling is somehow characteristic of the handling of the whole picture. At a time like that, as a subtitled remark conveys, “any woman will do,” for the boy is delirious and has but a short time to live. Instead of carrying through the delusion with quiet and simple effectiveness, showing a woman performing this exquisite service for the absent mother in an humble and sincere fashion the dierctor has lingered over it with maudlin tenderness. Miss | Rubens chants her lachrymose melody of comfort with full orchestral accom- i il m | early audience. paniment and the scene closes with a masculine chorus of perfect traiding intoning & dirge-like tuné in the back- ground. Where they came from no one knows. This story of a young woman's re- generation in the crucible of war is, again, essentially solid movie stuff. That women actually fought, and can fight, on the battle front is well known, but we must have the idea more convinc- ingly presented than in “She Goes to War” before we can accept it a miringly. Some of the tank scénes, es- pecially the interiors, are not without strength; the acting of John Holland and Edmund Burns in support of Miss Boardman is satisfactory uhroughout. A second feature of the Columbia's bill presents “Our Gang” in a talking picture. It won a delighted response from many of Saturday afternoon's A grave danger illus- ated by this first audible vehicle for ‘Tubby and Farina and their irrepres- sible - co-conspirators is that talk will make them self-conscious and rub the bloom of spontaneousness from their pranks. If they become automatons in- stead of ragamuffins their unconscious art will suffer and many a tear will be shed among their fans. FOX—"From Headquarters.” With the cheers of the Fourth still & resounding memory, “From Head- quarters” glorification of the United States Ma- rine. Built on the,gallant episode of a party of “Leathernecks” who set out on a venture of heroic rescue with the odds againgt them, the story has as its central’ character an ex-Marine, victim of circumstances attendant on a great personal sacrifice, and still thrill- ing to the “Halls of Montezuma” and | the Marine uniform. The picture is of the part-talkie variety. ~ Frequently it misses fire by subtitling the moments of greatest punch and possibilities and talking necessarily in the less important “shots Monte Blue assures us that behind t) villainous exterior of his role lies a kind heart and true, and thereby does just what he is supposed to do with | conviction and ease. Guinn Williams proves a glory to the corps, to his country and to its language, which he speaks in good, twangy Amer- icanese. Two old-timers, Henry B. Walthall and Glady Brockwell, are In the cast, the former in a minor part that does give him a chance to be, as usual, grimly serious. Miss Brockwell is just a little melodramatic in her lines about “That’s God's truth from ; fl}}"lng ngnx}\;"lhut her part is only short, thou n o g gh important, episode in The heart interest, which is subordi- nate, is sustained by Ethelyn Claire, a ' newcomer, whose Spanish accent and outfit remind us a little of an Ameri- | can flapper at a fancy dress ball, ! The stage frolicking is even | Deppy than usual this week, with the Foxettes again winning footlight honors for their amazing versatility. John Irv- ing Fisher does his mastering up to par, and has some amusing moments with the personable Sally Sweet, who, Incidentally, sings as side line, Edison and Gregory get “music” from auto tires, rubber gloves, vacuum cleaners and other available accessories with as- | tonishing casualness. Helen Windsor, an excellent contortionist; Jack How- | ard, & gum-chewing ‘eccentric dancer; | Maxim Brody, a good tenor, and Ewing Eaton, a trick violinist, all come in for | honors. Fox Movietone News has its | usual program place. EARLE—“The Glad Rag Doll.” ‘The entirely improbable but none the less amusing story of a show girl with beauty, brains and a sense of humor | and a family of aristocrats, all having | their eccentrities, is incorporated under | the title of “The Glad Rag Doll,” fea- turing Dolores Costello at the Earle Theater this week. It is another Warner Brothers' almost _all-talkie. | Why the dialogue is abandoned in the | middle of the piece and then picked up | again unceremoniously later on is ai deep mystery. Despite this flaw and a little faulty | g photography in the opening scene. | which makes it appear that there are | two or three Glad Rag Dolls in the | picture, Warner Brothers have produced | an unusually entertaining film, with | one character sketch—that done by Miss Costello—which is worth the price of admission in itself. The beautiful f | Annabelle Lea, who comes to find out what manner of frozen prune the head of the house of Fairchild might be and remains to uncover hidden fires Real Estate - Loans (D. C. Property Only) 6% No Commission Charged You can take 12 years to pay off your loan without the expense of renewing. $1,000 for $10 per month including interest and prin- cipal. Larger or smaller loans at proportionate rates. PERPETUAL BUILDING ASSOCIATION Established 1881 Largest in Washington Assets Over $18,000,000 Cor. 11th and E N.W, JAMES BERRY, President JOSHUA W. CARR. Secretary e il is timely and adds to the, THE EVENING STAR, WASHINGTON. D. C., MONDAY, JULY 8 1929 ICED TEA least expected, is a living, vivid person. ality with a contagious twinkle in her audacious eyes that draws unwilling re- sponse_even from the straight-laced John Pairchild. Ralph Graves plays this part, being more convincing as the lover than the stern disciplinarian, however. A well chosen cast supports the principals. Daniel Breeskin and his concert orchestra prove to be a whole stage show in themselves this week. In a well selected arrangement of Irving Berlin hits, various members of the musical grpup are featured. William L. Marsden, saxophonist, plays “Marie”; Jack Minovich and ton Schwartz follow with a violin duet, “Where Is the Song of Songs for Me”; Romeo Guar- aldi, , sings “Coquette,” and later, the theme song of the feature, “The Glad Rag Doll,” which is intro- duced as an accoggion solo by Mrs. Clark, the organist. essrs. Gottg and Wheeler, two lads at the piano, play the “Marriage of the Painted Doll” from “Broadway Melody,” rounding out a breezy musical program. Various Vitaphone features, including songs by Mr. and Mrs. Jack Norworth; | a cat comedy introducing “The Daisy || Bell” song cartoon and both Paramount and Fox News Reels augment the fea- Nearly one and one-half million peo- ple viewed the Lindbergh trophies dur- ing the first year of their display in the Jefferson Memorial Museum in St Louis, Mo. PALM BEACH SUITS $16-50 | Open a charge account || EISEMAN'S, 7th & F Itching Ends When Zemo Touches Skin | 1's wonderful the way soothing, cool- | ing Zemo brings reliet to itching skin, | pimples and rash. Even in severe cases; || itching disappears almost as soon as Zemo touches the skin.. To draw out local infection and clear away unsightly | blemishes there’s nothing better than invisible Zemo. Always keep this family antiseptic on hand. Use it freely. 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