Evening Star Newspaper, July 14, 1929, Page 50

Flashes From the Screen \ By C. E. Nelson. or art, as the case may be, there can be a flurry of ex- citement over a certain mat- ter, and then everything settles| down &gain in the groove of pros- erity, or seemin%prospeflty. But his is not so with the photoplay industry. The last year or two have been hectic years for the roducers, the .exhibitors and. astly, the picture patrons. The first real thrill of the game came with the production of what were known as superpictures; pictures that advertised great expense, great effort and wonderful cast,s.l The success of these pictures re- sulted in the manufacturers try- ing to outdo each other. So many millions were spent on this pro- duction, so many more millions were spent on that—until it seemed that there was really no limit to the amount of money in the pockets of the producers. Then, there was a flop or two among the superpictures. A mil- lion or two, or three, was marked up on the red side of the office ledger—and the fad for superpic- tures gradually faded. Now and then we have a “Noah's Ark” or a “Big Parade,” but these pictures are few and far bétween, Erich von Stroheim’s “Wedding March” resulted in the outlay of several million dollars before the wed- ding took place, and then those who had financed the nupualsi failed to realize upon their N most branches of business, music with motion pictures has | undergone a revolution. No doubt the music itself is just as good as formerly, for it is still drawn from the best available sources. But it is being reproduced by mechanical means aa gro]ected through dy- namic loud-speakers into the theaters. Before this sound reaches the audience (for motion picture spectators have become audiences), it must undergo a va- riety of processes, from records and sound-tracks, to needles and electric cells, to ‘pick-up’ systems, through wires to sound-projectors, i subject to variations of pitch and | dynamic power and so on. The| theaters vary in size and acoustic properties. Audiences affect the acoustic conditions still further. For these reasons, and many others, the music emerges some- times too loud for comfort, some- times too soft for definition, some- times smothered or full of scratchy noises, out of tune and tone, hoarse, as with a bad case of laryngitis, and often distorted be- yond recognition, to say nothing of the periodic failure of the sys- tems of synchronization * * * “And, best of all, we may look forward to that happi'l day when the ‘theme songs'—that tawdry invention of Tin Pan Alley minds for the entertainment of morons —will be completely eleminated.” Of course, this is only a part of the article by the Dr. Russell, a scheme. Such failures as this one | made the producers a little weary | when a director started talk of a| superpicture. | In the past few months—just to | keep things stirring—along came | the talkies. And all the talking | was not done before a microphone, either. The scund pictures turned | the entire industry inside out. The | silent studios became useless; mil- | lions were again called for in the | equipment of sound studios and the employment of actors and act- | resses “who could talk.” All this happened a few months | ago. Matters were becoming set—} tled; the great sound studios were | built and equipped, and hundreds | of stage players went out to Holly- wood. Everything seemed to be going along at a great rate, with the noisy pictures as the whole show. Then something else came | along—the colored pictures—and | one big producer announces that all his pictures for the next year | will contain color. This is prob- ably the greatest step forward in the industry, even greater than the advent of sound. The pioneer picture, “On With the Show,” while it contains some little de- fects, does not really appear as a pioneer effort; it is a splendid | work, showing what one may ex- pect-in the future. Being a first all-color picture, one would have expected a crude effort, but such is not the case. The picture is everything that a good picture | should be—and a little added. So now the producers are up in| the air again. “What will be next?” they ask, “and when are we going to settle down to the quiet life? And, will our new sound studios be discarded, as our silent ones were, so that we can | all produce color phctoplays? Oh.! la, la, where do we go from here?” | scholarli" musician. He is prob- ably right in all his remarks; the hundreds of thousands of photo- play patrons who enjoy, and will continue to enjoy, the sound pic- tures are wrong. If they prefer theme songs, naturally the pro- fessor will class them among the morons (a word very much over- used and misused by the alleged intelligensia since it made its first appearance in the American Mer- | cury). The average motion pic- ture patron much prefers a lively theme song to the aria from “Pumpernickel” or the sextette| from “Hassenfeffer.” So do Professor. Ll ARY and Doug (the Fairbanks family) announce, in a special delivery to the writer, that when their picture “The Taming of the Shrew” is completed they will not appear together again (in a photo- play, of course). Their message states that Mary will have an all- talking version of a famous stage glay. the script of which is now | eing prepared, and that Doug will appear with a story based upon a well known novel. But before they start work on new photoplays both Mary and Doug will spend some time in Europe— “a sojourn in Europe,” according to their speclal'dsl very. * “Shots” From Studios. 'ONRAD NAGEL, who has just completed parts in Cecil B. De Mille’s “Dynamite” and in “The Hollywood Revue of 1929,” has signed a new, long-term contract with Metro-Goldwyn-Mayer. Among the players in the new Greta Garbo film are Nils Asther, John Mack Brown, Joel McCrea, Lane Chandler, Robert Castle, Kathlyn Williams, Dorothy Sebas- tian and Prince Yucca Troubet- skoy. “Poor Little Mary Dugan” is the Lily Damita, late of France, with the natives of a country the Marines ha, “The Cock-Eyed World,” is made. Of p] course, the picture features Lily, Victer &‘e’l“lhn a THE SUNDAY STAR, WASHINGTON’, D. C, JULY 14, to be fighting in when the picture, Edmund Lowe. Local Stage 'HE local movie scene offers as its bright particular figure this week Dolores Del Rio of Mexico City and Hollywood, who will appear in person at the Columbia in connection with her latest picture, “Evangeline,” Edwin Ca- re cinema version of the Longfellow poem. Having already done this personal appearance routine upon New Orleans, Baltimore and Cleveland stages, Miss Del Rio very probably feels tempered to the ordeal by now, through on a re- cent brief visit to Washington she con- fessed herself a little nervous at first, albeit benefited by the dicipline of ac- tual appearances before the public. Lupe Velez made a similar tour not so long ago; so did Lily Damita in the early part of the year, and Vilma Banky, according to the latest advices, is sched- uled to entrain soon in company with her celluloid self in a recent film. So Miss Del Rio has had, and will continue to have, fellow-creatures in such erter- prising ventures. Four shows & day in Midsummer weather—well, it does take courage of a sort. At all events, it is highly likely that this quiet young Mexican woman, who is quite lovely off screen and on, will not find Washington wanting in its wel- come. Her cinema background s be- jeweled with a number of really im- pressive performances. She is young, modest and winning. It is a safe bet that she will ind the town hospitable. One of those pathetic incidents which come about periodically and with un- fortunate frequency in the show world disturbed, for a moment, the equanimity of the stage unit whicn presented “A Surprise y” at the Palace last week. Five minutes before they went on to give their ludicrous rubber-man clowning act, at the 1:30 show Wed- nesday, the Lime Trio, brothers, received a cable from Germany umnf them that their father had just die d. A and Screen. mount u; s a matter of fact, each | show is “set” at the very beginning of | | the week, the duration of its laughs not- | ed and the tempo is established so as | to insure its presentation within the | given time. | Hardle Meakin, chief of publicity at | the Fox Theater, in response to the | | reporter's inquiry. gives some interest ing data in regard to the running of presentation show, summing it up with | the remark that “putting on two hours | of entertainment in exactly 120 min- utes, no more and no less, today gives the manager of a presentation theater more gray hairs than were ever blanched by a temperamental prima donna.” In days past the motion picture op- erator in a projection room was an| expert at retrieving a few valuable minutes consumed by encore accorded the singing act, or the acrobats, or the tap dancers, since he could simply | speed up the crank of his machine | and rush the play to its logical con- clusion a little ahead of time. But| since the coming of talkies no such| manipulation of the film is possible, for | the strip of negative must proceed at | its ordained tempo of just 90 feet per | | mi@ute. To alter this speed would re: sult in sound chaos. Concentration then, since the tempo of the film is established before it| even enters the theater, is leveled upon the stage show, which must be set to | harmonize with the variable length of the picture, some of which take 60 minutes to show, others of which take 90 minutes. Applause from the audi- ence, their reaction to the different down to the split second, The actor can take so much time and no more, and it is the business of the master of ceremonies to see that the estab- lished schedule is adhered to. At the first new show of the week on Saturday | the executive personnel takes seats as far back as possible in the mezzanine section (in order to view the perform- ance from its “most difficult angle,” Itlon of Booth Tarkington's Has International Cast. FW‘! different countries and the capitals of three nations are repre- sented in the cast of Ina Claire's first all-talking picture, “The Awful Truth.” ‘Washington, D. C. home. Henry Daniel was born in London, England. Jacqueline Dyris was born in Brus- sels, Belgium. Judith Vosselli comes from Barce- lona, Spain. Sidney Bracy is an Australian John Roche comes from Penn Yan, A Theodore Von Eltz's home town is New Haven, Conn. mPuul Harvey was born in Sandwich, Marshall Neilan, the director, is a nakes it & perfect interna- A Mary Pickford Protege. VIRGXN‘A BEACHAMP, one of the 24 girls brought to Hollywood re- cently by Mary Pickford to visit the gpich are of doubtful humorous qual- | ity, but two Scotchmen provide humor | film colony, is the first of the group to return to the coast to begin a motion picture career. Miss Beachamp, with but two extra parts to her credit, was cast for the mportant ‘Buddy” rs’ new picture, an adapta ‘Magnoli which has the screen title of “River of Romance.” Born in Montgomery, Ala., Miss Bea- | gtarred in the “Sandr MacDuff” com- | champ grew up in Birmingham. In January, she won the Mary Pickford contest conducted by the Birmingham Post and came to Hollywood with 24 the type of movie fare that even a | girls and representatives of the news- letion of her visit, she returned to irmingham and persuraded her parents to let her come back to the fiim colony. HEN the modern orchestra didn't falter when it “jazzed up” Schu- bert's Serenade and even Chopin features of the stage unit, is calculated | papers which elected them. Upen com- | 1929-PART 4. Color Film Problem. HOLLYWOOD motion picture studios are in for a hot time this Sum- mer—at least such as produce color pictures. Making pictures in color al temperature of the studios ‘here they are flimed. Sound studios hich were rushed to completion with- ut sufficient attention to the venti- \Ung system are apt to puove mam- 10th ovens when the hot days come. ‘The extra heat is due to the increased ~mount of lighting needed for the film- ng of a picture in natural color. In he most color pictures were narred by a “‘fuzziness” of outline that njured the illusion—and the eyes. It was the bane of all experimenters in color phol hy. It was found that by increasing t on a scene be- +ing taken in color the fusziness disap- peared, the outlines coming out sharp and clear. ‘Warner Bros. knew this theoretically before they made the natural color film “On With the Show.” They ex- perienced it in reality in the making of the pictyre, and were thankful that the sound stages on the Warner Bros., First National and old Vitagraph lots had been supplied with ample venti- lating systems to keep the air moving. Sound stages which were rushed to completion without powerful enough ventilating systems to carry off the extra heat from lighting will need alter- ing when the producers begin shooting es have announced they en with the best ventilation, ing to find er in Holly- e com| 0. players and- extras are warmer, if not fairer, wea! ‘wood this Summer. e Visi»u Death Valley. fighre in the stage world, play- wright of mote and president of the Authors’ League of America, made his first visit to Death Valley recently. But tLis time he did not go as a sight- seer, but in the line of duty. Anhnu{:‘: known as a globe-trotter who has included most of the far places of earth in his travels, Mr. Middleton has not had a chance to fulfill his de- sire to traverse the lowest spot on earth. Opportunity to achieve this occurred recently and he went there is his ca- rlcny as supervisor and writer of dia- logue for Fox Movietone talking pic- tures, a post he has recently accepted. From the lights of Broadway the play- wright went “on location” with a mo- tion picture company. | “Irving Cummings, Fox Pilms director, |1ed & caravan of 83 people, including Arabs and Hindus, 9 camels, 55 horses |and ail the impediments, to Furnace | Creek Ranch, in Death Valley, for the filming and recording of desert scenes in “Behind That Curtain.” Mr. Mid- dleton went along, delighted at the op- portunity. “We had s pretty tough time of it.” he said, after achieving 10 hours sleep and thrge or four baths upon his re- turn to Hollywood, “but it was great! I wouldn't have missed it!" - | Scotch Humor. | "T'HE Scotch are the innocent victims of a vast number of jokes, many of | of rare gusto in “Divorce Made Eas; | Douglas MacLean as the leading man jand star of the production and Jack Duffy as the intruding old uncle who role of Effie in Charles | mixes everything up furnish the laughs. | | Doug has been making people laugh |for some years since his graduation |from the stage of the Morosco Thea- | ter, in Los Angeles, and Duffy, recently edy series for Christie, has a following of his own. The combination of these |two and their rare gift for comedy is | Scotchman would willingly pay for, the préss agent says. | ——— | . B | Keep Conduit Road Clean. | THE Government officials = having | L "charge of the Conduit road, | through the e 's office, recently | have directed a complaint to the man- gement of Glen Echo Park that it is 80 | Funeral March, it might be supposed | almost an impossibility to keep the road their pictures in color—as several of the | (GFORGE MIDDLETON, prominent | to all classes of people, it woul AYUSEMENTS. The Moving Picture cAlbum By Robert E. Sherwood. AVING read certain of my re-|up to this time has taken no part marks on the deadly monotony of subject-matter in the talk- ing pictures, a correspondent writes in to say: 'You complain because the movie producers seem to be limiting them- selves to two subjects—namely, crime and jazz. And yet, is it entirely their fault that they're doing s0? They must necessarily try to describe life as they see it. They must ‘interpret America,’ to use a high-sounding phrase. What is more, they must do t| in an in- teresting and dramatic manner. After all, what is there in America that is interesting and dramatic except crime and jazz? If you could suggest any other subjects for pictures, then you would be in Hollywood getting rich and you wouldn't have to write dull articles about the screen for a living. I wish I could put this flippant cor- for future talking pictures; but the more I consider the matter the more coflvinced I become that his point has been regrettably well taken. Of course, there are in America a considerable number of elements other than crime and jazz, There is, for ex- ample, prosperity. And yet—just try to imagine a photoplay (in sound or si- lence) based on the operation of a well known automobile manufacture: ac- ceptance plan. T e such story seem “humi 50 that it would appeal d be necessary to show how the acceptance plan affects the lives of an average American family. It is family of moderate means, with no more than one town car, one electric ice box, one touring car, two radio receiving sets, one roadster, one jade furnace in the cellar-salon and various other simple conveniences. ‘The daughter of the family is be- loved by a wealthy youth who lives on the upper West Side and whose snobbish parents don’t want him marry so far beneath his station. This makes the daughter very unhappy and creates at once a tense dramatic situ- ation in the home. The father feels that if only he could give his little girl every luxury then she could im- press the upper West Siders and hap- piness would be hers. He broods over this, knowing* that the one thing she ints most in the world is a fine car. When she has this, she can roll up to her lover's palatial mansion and break down his parents’ objections. Already, however, the poos father is meeting 38 installment payments every week with a salary of $65 per. He can't afford to make even the down )ayment on a new car. So what does e do? He steals the necessary sum from his emgleyer‘l till and hides it behind the clock on the mantelpiece, knowing that tomorrow he will take it to the agency and fulfill his daugh- | ter's heart's desire. And what happens then? ‘Well, the mother of the family’ (who 70, oUNTAL Earle,ld cost z 'w:v wot TV R M respondent in his place by suggesting a | large number of fascinating subjects Always 1? in the narrative) is stified and re- pressed by the intolerable narrowness of her home. She yearns while there is yet time to see life. Finding the money hidden behind the clock, and thinking that it has been put thefe by some good fairy, she takes it and gm out to a night club, where she ears an entertainer giving his im- pression of Al Jolson singing the pop- ular song, “Sonny Boy.” When she comes home the money is gone—and so is the family's honor. Thus our story, which started out | with prosperity as a theme, ends up | with crime and ja: It's pretty depressing. * ok % * (QF COURSE, it is possible to forget about present-day conditions in the United States and make historical | dramas on the screen. (They had crime in former times, but no jazz.) Historical dramas, however, have rarely | been profitable, and they became doubly difficult in dialogue form. 1t also is possible to have pictures about heroism in the Great War (why has no one thought of that?), or of the struggles of white men in the South Seas, or of the wiles of diplomacy in Europe. or of the con- | quest of the air, or of the opium trade |in_the Far East. | The terrible fact of the matter is | that there must be some 500 feature | pictures produced in America eve | year, and the imagination of man_ f: | not 'yet big enough to conceive 500 | stories that are not variations of the | same theme; and as long as crime and jazz continues to be featured so prom- inently in our daily lives, they will | continue to be featured prominently |in_our movies. | Nevertheless, those of us who have | to see all the pictures, week in and | week out, can't help feeling that it | does get a bit boring at times, f (Copyright, 1929.) | Real Dactorr Draflfte'd. | | ACTORS could play doctors in silent | pictures, but in the talkies, where | the character medical men are re- quired to speak lines, it takes genuine medicos to provide the proper realism, film directors are discovering. For hospital sequences in “Lum- | mox” the director tested a number of experienced actors for a pl cian's | role. They looked like doctors but they | didn't talk like doctors, Brenon decided. so he finally drafted a bona fide mem- | ber of the profession for the part. | " Dr. Geoffrey Grace, head of the | United Artists studios’ emergency hos- pital, was persuaded to play a doctor and train a corps of nurses for scenes | in the plcture. Afterwards it developed |that Dr. Grace was an actor in his | youth and had worked in other falking pictures during his association with the studios. ) J) /, dlantoy- (/v LG cU Thkalerne Direction VARNLR BROS. 13th SE. COOLED BY REFRIGERATION i Always Gomfortable 4 FOR THIS WEEK ONLY z;h"scve(n" Delightful Lovers momentary pause, & turning aside from | the harshly gay Kleig lights, a flood | of memory, and then the cue to g0 on. No one knew until later, and the * o ok % 'HE biggest thing for the sound | |that “the world waiting for the sun- | clean because of the thousands of pop- | rise” was prepared for anything that|corn boxes purchased at the park and might follow.. Not so, however, at least | thrown along the Government prop- title of a new song written by Gus Edwards and dedicated to Norma to speak) and takes note of every specific detail of staging, lighting, per- | formance, music and especially of audi- Beautitul ESTHER _movies is to_have some one criticize them. That is, have a| big-wig or two break into print | with a statement that the sound | movies “are fterrible.” In the| meanwhile, these same movies jam the theaters; they have broken all records for popularity; | they constitute a new medium of | entertainment, keeping the box | office girls busy from early morn | until only taxicabs are rambling along the village streets. All the | knocks just add a little to the| popularity of the sound pictures. | Alexander Russell, director of | music at Princeton University, ln{ the current number of Theater | Magazine, says a word or two: [ “The sound movie came upon | us with the suddenness of a cy- | clone, and the whole effect of Shearer, who played the leading role in “The Trial of Mary Dugan.” Renee Adoree has a part in the John Gilbert picture, “Redemp- tion.” Also, she is taking English lessons. Lon Chaney plays the part of a bold engineer in the railroad story, “Thunder.” One of the striking features of the screen play “Paris” starring Irene ‘Bordoni will be a stage spectacle included in the action of the picture—a play within a play, photographed in technicolor. Among those in the cast are Zasu Pitts, Louise Closser Hale, Mar- garet Fielding and Jason Robards. D. W. Griffith is planning a pic- ture dealing with the Texas oil fields. He goes to Hollywood this week to make preparations. Curbing_ ‘Ehe “All Talkie”. HEN a thing “doesn’t belong,” so to speak, the less there is of it the better. In spite of the wonderful development of devices to make the screen talk, it _*l not always been possible to make "talk as ordinary human beings talk. A hitch in the apparatus, accidental missed connections and similar mishaps have balled up a talking picture until audiences have laughed outright. This is not an argument against the talking picture; accidents are likely to happen in any walk of life, and even human talking machines-have been known to make slips that gave them keen cause for regret. ! ‘When the movie industry embarks on a new venture, it sometimes overdoes things in the mad desire for haste to present to the public something new, even before it is ready for such pres- entation. ‘Now it has been reduced to about a “At the beginning of the era of talk. ing pictures,” says Monta Bell, P: mount's talking director at the Long Island studios, "dialogue ran approxi- mately a word to each foot of film. half word a foot.” ‘The purpose, Mr. Bell explains, is to gradually eliminate dialogue and re- strict it” to the essential requirements of plot and character development, the only reasons that exist for the use of dialogue at all. Thus far dialogue seems to have been crowded into the picture just to make it “all talking,” and, Mr. Bell states, producers have become aware that this is not an,ideal way to make talking pictures. Future scripts, therefore, we are told, will remedy this evil, and thus not only speed up action in the pictures but less- en the mishaps that as a rule threaten talking pictures and sometimes make them ridiculous. Miniature Armies. INIATURE British and German armies, each composed of 500 men, were “recruited” in Hollywood for the war scenes in “Three Live Ghosts,” which is being filmed as an all-talking picture at United Artists studios. Recruiting’ the German “army” was different than in the days of the silent pictures. Five hundred men in German uniforms wouldn't do. Inasmuch as the film was all-talking the German “army” must speak German. Engaging recruits for the British contingent was com- paratively easy. ‘Thornton Freeland, director, com- missioned his two assistants to recruit the army and prepare the battle scenes. Trenches had to be dug, barbed wire entanglements set up, and explosives planted. Notables among the two armies re- cruited included a former nnfi 3 colonels, 11 majors, 3 captains 1 leutenant of the German army, and a colonel, a Heutenant colonel, 5 majors, 14 captains, 8 Heutenants and 3 sub- leutenants, who had seen service with the British forces in the late war. Next Week's phofnplaya. PALACE—Lon Chaney, in “Thunder,” a Metro-Gold- wyn-Mayer picture. FOX—Dorothy Burgess, in “Pleasure érmd,' a Fox production. COLUMBIA—Clara Bow, in “Dangerous Curves.” This, in a measure, coupled with the hum of machine gun bullets, firing of cannon, punctuated by burs ex- plosives, and the whine of rifie bullets plercing the air, add to the reallsm of the scene. Scores of microphones re- corded every sound and voice heard, from the explosion of shells to the cries of the men as they went “over the top.” —_— Dying from a mysterious disease, Fair Tie: 1 the North of Scatiand, have le, e of tlan practically disappeared. St audience never knew. ‘The spectators who witness & quick- moving show at one of the so-called “presentation houses” (that is, such as the Fox and the Palace, which offer stage units in conjunction with the pictures) are probably not aware of how carefully calculated are the détails of the performance in order that every- thing shall run according to schedule and without a hitch backstage, on stage or on the screen. Time is an essential consideration; a definite number of complete shows must be presented dur- ing the day (usually from 1 p.m. to 11 pm.), each one smooth and complete in itself yet simply part of a succession through the day and through the week. Delay or interruption or lagging mean 80 many more minutes added to the end of the day, an addition which is term- ed “overtime” and which costs the theater money. If one particular au- dience laughs unduly long at a joke or gag on the stage, those few precious minutes must be made up in some way or other in order to keep the perform- ance within running time, for, if you multiply each delay by four (the number of shows per day), the time begins to Leads the Band DAVID McWILLIAMS, Director of musical affairs at Glen Echo Park. i RICHMOND THEATER Alexandris, Va. pentag femerion al7 Tt Lai Act Point Lookout Washington's nearest Beashore Tt Ideal place to go for an afternoon drive to_spend the night salt air, cool breeses MODERN HOTEL suzy o ‘THE RAINBOW MAN’ C ‘aballos Vitaphene it 4, sre m’l!:l..llllr:ll':ll“ b W, 9% A CIRCLE ¥2ufdic “Sarkis, Ath & ut Today at 3:00, |:'oo. ‘;"“ lnflhg:fl“.;.,?‘. “The C'-nary Murder Cue"‘ giors R Spemton, A Sun CAROLINA i Exfvd™ % ence response. A conference is then | held with the master of ceremonies, the | orchestra leader and the stage director | and the tempo of the show is established | 5 | for each two-hour presentation through | | the week. Each perforance thereafter, | | barring _ unforeseen interruptions, is | No matter how | off-hand and casual the movements | | of the actors seem, they almost in- | | variably repeat the same gestures, man- nerisms, dance steps and lines, in| identically the same amount of time. | | 'The foregoing details are, in reality, | fust & few of those which enter the question of setting and running a pres- | entation unit. They happen to be all the details Mr. Meakin and this collab- orator could work out on a warm after- noon in July. There sre other angles, such as the setting of laughs in the film itself, which is done by psycholo- gists in Hollywood, and the calculation of audience-response to such a picture as “The Cocoanuts,” but such minutiae, after all, make another story. M. J. Cullen, managing director of the Palace and the Columbia, is another va. cationist these days. His destination is Newport and Narragansett, He will re- turn in a fortnight. LOEW’S CO LUMB F_ST. AT 12TH. Cont. fi NOW PLAYING identically the same. DOLORES DEL RIO in PERSON Conjunetion With Her And et Soreen Triameh “EVANGELINE” Adapted from Longfellow’s Tmmortal Love Epic. HEAR her sing for the first time on the screen. SEE the exquisite star in person and e thrlld ALWAYS SEVENTY DEGREES ¥ ST. AT J3TH.- Cont. from 11 NOW PLAYING A Paramount Picture DOUGLAS “DIVORCE MADE EASY” -1ARIE PREVOST —ON THE STAGE— HERBERT 'nnw LINSON ‘HONEYMOON CRUISE’ featuring JOE PENNER EXTRA ADDED ATTRACTION. R A e o probably not so. Paramount is making an "fll-ulk-] _‘%‘:tnl\nc picture” under the caption i Dance of Life.” It is an adapta- tion of the widely known production called “Burlesque.” But that is not the news of the story. The real news is that, perhaps, for the first time since it was written by Stephen Foster to stir the hearts of humanity, “Suwannee River,” often called “The Old Folks at Home,” is going to be sung from the screen and is to provide the melody to which Hal Skelly and Nancy Carroll are to dance ’uulul waltz clogs in the picture. In fact, it is 'going to be melody used several times during the story and for as many different purposes—properly rh; ed, of course. DANCING. i 3 § DAVISON'S £, Soirectiy in s e Prof. Mrs. w. él Pl’lv: ny h s R RE. Five private RDEAU L'EGA] T ; single, $1.35. Pox Trot, Waltz, ui mber. ' 2035 F Class dise. until Septes nw. up One flght. North 0731 - * F ST. AT FOURTEENTH The Season’s Foremost Mystery Novel Now Becomes the Talk- ing Screen's Greatest Drama. William Fox Presents | erty. In order to co-operate with the Gov- |ernment and to see that the road is | kept as clean at all times as the park | itself, Director Schloss has arranged for |'a special “road.cleaner” who will do nothing but see that no popcorn boxes | litter the Conduit road from Delacarlia | Reservoir to Cabin John Bridge. WANT A RAFT OF FROLIC E'S NO BETTER PLACE N AT FORTY ACRE [FREE-ADMISSION | \ LEN ECH LAMUSEMENT PARK | WHERE YOU GET FUN AND F'ollc FROM MORE THAYN 50 AMUSEMENTS PICNIC GROVES—PLAYLAND b WEATHER ALWAYS 70 Just completed twe ea- pacity weeks at xy Theater, New York City. Earl Derr Biggers’ Novel BEHIND THAT CURTAIN with JYARNER BAXTER Gilbert Emery, oran All-Talking Fox Movietone Hit. A MIDSUMMER REVUE Featuring o Master of Most Unusual Ceremonies JOHN IRVING FISHER SALLY SWEET For a Second Week. 6—RED DEVILS—6 JACK ROSE WALLY 14—GORGEOUS JACKSON FOXETTES—14 LEON BRUSILOFF 'nd Bis Syncopating 40—FOX JAZZMANIANS—40 Zoz Movtetone New, RALSTON and Richarg In Paramount's Ail-Telking Screen DRAMA TATE iand Lasghing \Y Englangs o¥Grand % ous_Comed H‘“'g:lmIATE, T 'OFFICE’ concert ‘Overturé garle ropicel Review g A W 8 darur BABY ROSE M [ 3 AY and TOMORROW—RICHARD TR A TR LIFE" (100%__ALL-TALKING _PICTURE). W HURRY VITAPH ADDED_VETA i DIX ROMANCE ACTION Drama e \heel of Life" Beautiful Women and Hendsome Men! 4 Love Story—Warm, Throbbing, Tender. - L GGEST THAT YO IF YOU DO WANT TO MISS IT Natural singing, That I E SU irst_ 100% Z«"fin.'.«u.rmm, ng Picture 0. VITAPHONE R PICTURE PRESENTS - IONE PiLD WONDER- COLONY G»- Ave. & Farragut st. TODAY and TOMORROW—_CLARA BOW in “THE WILD PARTY" ING_PICTURE). APOLLO ®.= st NE TODAY and TOMORROW—NANCY DRl ang ROGERS BinaiE S TATIANG CAND DANC: PiCruRE) “AVENUE GRAND 2% TRITe il Tuchaon-gury : éu: :né?é WOMAN" (AN ALz 1230 C St. NE. CLOSED FOR ALTERATIONS—RE- OPEN SATURDAY. JULY_ 320th. SAVOY 14th & Col. Rd. NW." ‘ODA' d _TOMORROW-—JEA! TORAINHONE and INA BABGURTLE in _“THE__YOUNGER _GENERA- TION' (SYNCHRONIZED MUSI- CAL ACCOMPANIMENT). 'nvoil 14th & Park Rd. N.W. S YORK 02 Ave. & Quebec 8t. N.. : TODAY and - TOMORROW-_JEANNE. EAGELS in * ETTER" (1007 ALL-TALKING VAT e Uil