Evening Star Newspaper, September 22, 1929, Page 58

AMU The; W oving Picture cAlbum By Robert E. Sherwood. HE movie industry is cnce more drifting away from adaptations of plays and novels and equip- ping its off s with “original staries” written directly for the screen, This would seem to mark the end of the phase that followed the in- troduction of sound, the phase during which the film people went back on their tracks and produced motionless motion pictures which were no more than celluloid counterfeits of stage lays. 4 5 Almost all of the carly talking pic- tures were adaptations—'The Jass singer,” “The Lion and the Mouso," “Interference,” “Coguette,” “The Let- ter,” etc. Now, of the 51 feature films in production in Hollywood, 14 are adaptations of stage plays, 15 are de- rived from published novels and short stories and 22 are of the handmade tyne known as original stories. This may be regarded as an encouragingly healthy sign. And yet—the question inevitably arises: Just how original is an “orig- inal story?” Pondering the answer to that ques- tion, you come to the depressing con- clusion that true’originality is almost non-existent in Hallywood. Indeed, about the only difference between an adaptation and an original story is that in the former case the author is paid handsomely for his idea and in the latter case the idea is merely stolen. Creative intelligence has never b markedly prevalent in Hollywood. The material that Hollywood uses for iis stories has been originated somswhere else—in plays or in novels—and comes to the screen second hand and stale. Consider the epidemic of flaming youth pictures of siX or geven years ago. Was it & movie scenario writer who first observed that young pacple of the post- war generation were drinking gin, neck- ing and defying Victorian conventions? It was not. Flaming youth had already been done to death on the stage and in fiction magazines before Hollywood heard about it~ Consider also the flood of war dramas. In 1924 no one could persuade a fiim | producer to consider a war story. knew that the public was fed up with the war and wanted none of it ol screen. Then “What Price Glory? presented as a play in New York, was colossal success, and before it eould be converted into movie form the seenario writers of Hollywood had filched all its ideas and used them dozens of times. SEMENTS. All of the present, “all-talking-all- singhyg-all-daneing” ras _are con- ceded to be imitations of “The Broad- way Melody,” which was technically an " nal L'y » But when you subject {“The Broriway Melody” to careful serutiny ycy will observe that it was a copy (word for word, “Broadway, urlesque, and Egg Man,” “Excess Baggage" and other plays of back-stage life. A like result will be achieved with any picture you may care to name. x!n! Vidor's “Hallelujah.” admirable es It is, would never have been realized on the screen if the Theater Guild in New York hadn't previously been courageous enough and enterprising !nou%h to pro- duce “Porgy” with Negro cast. ‘There is one section of the movie in- dustry that must be excluded from these charges of imitativeness. That, of course, is the section represented by the comedians. Charlie Chaplin has borrowed nane of his ideas from the stage or the printed page. He has never waited foy some novelist or dramatizt to provide him with inspiratio; e has derived it di- rect from the artists, 1. e, human ure. He is & creator, not a copyist—and for that reason, his comedies are unquestion- ably the truest works of art that the motion picture has produced. ‘The same remarks may be applied in lesser decree to Harold Lloyd and Bus- ter Kealon, Most of their ’us have been oiginal in’-the only legitimate sense of the word. ‘The movie magnates may hire all the most eminent novelists and playwrights and put them to work in the Hollywood cellulold mills—and they will still find it necessary to look elsewhere for their original stories. ation of this is to be found in the character of the movie producers ‘There is not one of them | who isn't scared to death of a new idea. ‘There is not one of them who is com- petent to perceive merit in a suggestion that isn't fortified with incontrovertible statistical proof. Ther2 is not one of |them who would risk a nickel on a play |like “Journey’s End,” which was devoid |of women, until that play had estab- | lished itself as the biggest hit of the | year in New York, London and Berlin. In other words, conditions in Holly- { wood are just about what they always | were. (Copyright. 1929.) “Kibitzing” WOMEN suffer more than men at the hands of kibi according to Harry Green, who, as the kibitzer in “The Kibitzer,” has made a deep study of the art of kibitaing from all angles. “But of all the kibitzers who disturb the peace of womanhood probably the worst is the husband who advises his wife to learn to bake pies like his mother used to make,” Green declares. “All through her life woman faces the taunts of kibitzers, the number of whieh appears to increase with her age. The first_one to cross her path is the ‘big brother,” who proves to be most ganer- ous with free advice. Next, as she grows up, her father assumes the role of kibitzer, her skirts and th: selection of the ‘boy friend.’ “The boy ‘friend’ himself, in turn, | proves capable of a little kibitzing of his own by telling her what is wrong with her autemobile driving. On to] of all kibitzing to which women fall hefr, they can't seem to resist kibitzing each other. “Every girl gets flooded with beauty advice. This is one of the most com- mon forms of kibitzing. Some tell her to diet and grew thinner, while others urge her to try to také on a few pounds. ‘The daily dozen are ardently recom- mended by many of the volunteer ad- vice dispensers; others warn her against becoming ‘muscular.’ “When she becomes engaged and sets | her wedding date for a Tuesday, some well-meaning Kibitzer is certain to dis- cover why it is unlucky to get mar- ried on Tuesda: If the wedding day is Wednesday, another will remember that people married on wodnudlg are due to be unhappy. The same thing oes for Sunday, Monday, Thursday, iday and Saturday, until the poor girl is convinced that it must be bad luck A Pathe Star ;| | season, Chesapeake Beach is catering | Ffiifimt JACKBON. PRIVATE DAN m:le Aflu‘g- ‘S.I—‘.‘p.m)(‘v ‘;nl Cl TSONS Form Trat, - Hoo col 20. 1 DAVISON'S ) Evelyn eopens reatly Jacilities in its new locgtion. 1418 Rhode d Avenue N.W. Atternoon and - evening classes rls. b 1 S s10uPs in modern balireom dll\l:Tll on Friday afternool Children’'s classes Saturda: el e {0 SWelve, mam day, |' orth avis School o September 30 with o i bers. MVate lessons 'Monday to Thures lusive. iven _special % e flight. MAE DAVISON. allet, Toe, Orient issian, lL;o Ruck, Acrobatics, Limb Octabver dults nglt Lasogs ¥R 31 TDIo i ms ¢ t Nort| 5 oo’ ahi" Stase Dantine . Classes Open Sept. 28 dwelling on the length of | the Ladies to get married at all. She iscertain to find some kibitzer who will really agree with her on that. “After she is married, she really learns what kibitzing is, for the world's most accomplished kibitser is the hus- band, Her children, in time, kibitz her about being old-fashioned, and if she lives long enough to be & grandmother, she is scheduled to even more kibitzing. ““The only wa) at & woman can get an even break is to kibitz on her own account, From being kibitzed so much herself, a woman usually can, with practice. acquire quite a professional | kibitzing touch.” Coming Attractions. | NATIONAL—"A Connecticut Yankee.” “A Connecticut Yankee" is announced for the week beginning Sunday evening, September 29, at the National Theater, with matinees Wednesday and Satur- day. It will be remembered as one of last season’s alluring and all-satisfying attraetions. Mark Twain wrote this comic | romance, first, to make the world laugh, | and second, to “shaw up” Kipg:Arthur. | | Twain had not a very high opinion of | the Knights of the Round Table. He had heard too much about them. Rus- | kin and William Morris had been feed- | ing the public on the Middle Ages, and | it had become the fashion to believe | that everybody dead and gone was bet- ter than everybody alive. “I'll show up King Arthur and his\ well known knights” said Twain in effect. 8o he wrote a book deacrlbingl | the ventures of a modern, smart, | clever young American at the Court of | | King Arthur. | "Mark Twain was not a humorist | alone; in each of his hooks, even the | funniest, he pleaded a cause. In “A Conneeticut Yankee” he argues for the | modern ways of doing things and proves | that we are lueky to be living today and | not in the days of old when knights | were bold. | ""As presented by the company headed | by Richard Lane and Mary Adams, it | abounds in good rollicking humor, with | delightful musical aeccompanimen | In a lavish frame. GA\,’ITY—“III!IMII! Review.' | _“Burlesque Review” returns to the | Gayety Theater next week. It has always enjoyed & reputation that any burlesque show might be proud of. It comes with a goed company of fun- makers, singera and dancers. Stress | is laid upon two elabarately staged | scenes, an “American Rookie in France” and “The Play's the Thing,” both .of which exemplify the funny side of | burlesque entertainment. | Harry “Pep” Pearce and Madlyn | Beatty are the featured players, sup- i d by a strong cast of principals and an attractive chorus. | | Chesapeake Beach. ‘With fishing declared the best this to large numbers of anglers. Troui, | spot, bluefish, rack and hardheads are | being caught. Boathouses remain open for the convenience of sportamen. Today the Potomae Anglers' Assocla- tion :l hold its.annual outing at the | resor POLI'S Eves., 50¢ t¢ $3.00. Thur. Mat., 30¢ to $1.50. Sat Mat., 50: to After a season at the 'Em A dramatization a novel NEXT WEEK SOX: A Thrilling Mys THE GHO Prior to a New | scribed as different and a story new in | character, accused of the cold-bloode | charge TOMORROW, IgHT GILBERT MILLER presents - KATHARINE CORNELL IN HER LATEST SUCCESS The Age of Innocence A Romance of the Unattainable of Human Intereat and Engrossing Speculations by Margeret Ayer Barnes with ARNOLD KORFF and a Distinguished Cast / Staged by Guth CHARLES K. GORDON Presen Variety of Attractiong in The Capital Playhouses (Continued From First Page.) Columbia this week. Hal Skelly, cr2- in the original play, has the role, with Nancy Carroll featured as {he leading feminine Y ! The story concerns two troupers who meet in a deserted ralroad station and secure, through the giil's efforts, their first real job. Skid is & big hit. The girl, however, is his inspiration and guiding star; without her he His big opportunity comes when a New York producer offers him & job in a Broadway production. He is satisfied to stay in burlesque, but the girl, whom | he has marsied, now urges him to go. He is an instantaneous success, but the success goes to his head, and he forgets | his wife, the girl who made it all pos- sible. She in turn is pursued by a wealthy and honorable gentleman who wants to marry her. She refuses him. however, to go back to Skid and save him from the rut and apathy into whicha he has fallen. ‘The production is lav- ishly staged. The “Follies” sequenc:s, are in natural colors. Over 80 er - | pear in a huge stage setting in this se- quence. A chorus whose average weight | 1is over 180 pounds appears as the “beef trust” chorus in the burlesque shots. Short subjects, the M-G-M Interna- tional News, the Fox Movietone News and the Columbia Orchestra complete the program. PALACE—Jeanne Eagels in “Jealousy.” Jeanne Eagels in the role of a Parl sienne in a sophisticated French picture, “Jealousy,” adapted from the stage suc- cess by Louis Verneulll, is the screen attraction at Loew's Palace Theater this week. Fredric March plays oppn- ' site Miss Eagels. The story concerns woman whose past threatens to destroy her present happiness. An elderly ad- mirer has bacl the opening of a fash- ionable shop for her in Paris. Then she marries a young artist and tries to convince him that the elderly lover has acted simply as her guardian. Finally the young man goes to the financier's home one night and kills him in a fit of jealousy, little realizing that his wife is concealed there to bargain for her freedom. The picture tells the remain- der of the story. On the stage Al Evans and the Palace Syncopators will be presented in C. A. Niggemeyer's production of gorgeous settings and catchy music, mance Isle.” The cast is headed by the Hickey tumblers; Kay and Sayres, danc- Sylvia Field, formerly of Maj. Ed- ward Bowes' Capitol family of radio entertainers, and the Gamby-Hale Bal- let. ‘The Fox Movistone News, the al 't b- jeots, Charles Gaige at the organ and the Palace Orchestra will complete the program. EARLE—Claudette Colbert in - “The Lady Lies.” Claudette Colbert, slender, brown- eyed beauty of stellar fame in a num- ber of Broadway productions, and Wal- ter Huston, one of the stars of the legitimate stage in the past five years, appear in the leading roles in the Paramount talking film, “The Lady Lies,” which is this week’'s screen at- traction at the Earle Theater, Huston as the handsome widower and Miss Colbert as the woman unwittingly re- sponsible for his social downfall. ‘They first appeared together in the popular stage piay, “The Barker,” by George Abbott, which had a long run | on Broadway. Huston played the part of Nifty Miller, the tough carnival ballyhoo man, and Miss Colbert played Lous, the cqually hard-boiled side-show performer. Charles Ruggles, a leading Juvenile and elderly gentieman comic of “the great white way,” plays the comedy relief role in “The Lady Lies.” He was first seen and heard in talkin pictures in “Gentlemen of the Pres: Paramount’s play of newspaper life, | Sl i RIALTO—"The Drake Case.® A murder trial, courtroom picture, de- | treatment, ail are ed in “The Drake Ca: at the Rialto. It is a talk- ing sereen production, featuring a cast including Gladys Brockwell, Forrest Stanley, Robert Frazier, Barbara Leon- ard and James Crane > “The Drake Case” is-the trial of The People vs. Lulu Marks, an tntl'iluh:s murder of a wealthy woman, Mrs. George Morgan Drake. The entire swr{ is practically enacted m«gh the testimony of the witnesses, is han- dled in such manner that the audience in the theater becomes the audience in the courtroom, listening to a trial marked with «drama, tears, laughter, thrills and suspen: A woman is d with murder on almost irrefu- table grounds, but refuses to say a word in her own defense, although she pro- tests her innocence and in the same ys she is glad that the victim | Gladys Brockwell has the role of the accused woman, with Forrest Stanley as the district attorney and Robert Frazier as the defense lawyer. LITTLE THEATER—"“The Censtant ) Nymph H “The Constant . Nympl Margaret , Kennedy's novel, adapted to the sereen, is the current attraction at the Little ‘Theater. It is the story of the Bohemian family of Sangers and their odd friends and was filmed in the actual locations of | the story, in London, the Austrian Tyrol | and in Brussels. Mabel Poulton, erst- while stenographer and newcomer to the soreen, plays Tessa, heroine of the story, and Ivor Novello, ' popular English actor, is seen in the ; role of Lewis Dodd, eccentric composer and disciple of the famous Sanger. The screen story, adapted by Miss Ken- nedy and Basil Dean, is declared a faithful transeription of the book., It was .directed by Basil Dean and pro- duced by Gainsborough Pietures, Ltd., famous “Suicide of a Hollywood Extra,” the film that cost| only $97 to make, is also on the bill. ! Cardboard, ink, paste and a pair of shears were used to make the mod- ernistic ‘effects and at the same time production cests. The pro- gram is completed with the UFA oddity. “The Jewels of Venus," and Laurel and | Hardy in “Two " { pire Theater, New York ¢ Edith Wharton's MeClintie MATS. THUR. SEATS AND SAT. WED. tery Mo With a Brilliant English POPULAR PRICES Fiiin'3°s: " [ The Joseph Schenck organization, ui THE SUNDAY STAR, WASHINGTON, MARH.YN SINGS AND DANCES The Broadway star, Marilyn #iller, picture, “Sally.” D. C., SEPTEMBER 22, who has a leading role in the new sound Some of the original song and dance hits of the stage produc- | tion are contained in the photoplay version, I:Zthics_ for Crooks. ANY half-way respectable would be & good deal more of a gentleman if he thought of his mother and father before he pulled a job. In fact, if he thought of his mother and father and all the trouble he was going to cause thof, he wouldn't be a crook at all. ‘This efficacious solution of the crime complex is advanced by one who knows, or ought to know. Pathe has left no stone unturned to authenticate the in iquitous background of Al Hill, wh plays the crook chauffeur in “The Rac eteer,” which the company is now mak- ing. In addition to acting, Hill is giv- ing the benefit of his knowledge to the director. the underworld and associated for years with every prominent character of the shady side of New York and Chicago,” Mr. Hill is said to have considerable atmosphere to impart. “One of the outstanding faults of crook dramas,” the press department quotes Hill as saying. “is the inability As one who was “reared in | crockTof the actor to get the real psychology | of the thief. A thief is the most seifish | thing alive. He has absolutely no heart. | Everything he does is for himself. If | he wasn't built that way he'd probably think of his mother and father and | others before he pulled a job that put | him in the pen and brought more grief | to others than to himself.” | "Rl follows with a nifty compliment | to Thespians, to the effect that it Is | natural that actors cannot get the crook psychology becguse they (the actors) have hearts the size of mountains and could not be selfish if they tried. “Seli- ishness is the last thing in an actor make-up, and selfishness is the bigges of ‘a thief.” There you have it. | Why attempt to reconcile” the impos- | sible? These movies might just as well | stop trying to make thieves out of actors. | In the first place, as has been noted, | actors sre too unselfish, and in the | second, they think of their,mothers. | Don't all the movie magaasines prove | that? Of course they do. * Miss Gish ILLIAN GISH, having put behind|more than 20 tic histri- onics of “The White Sister,” “The Scar- let Letter,” “La Boheme" and other silent roles, is now to debut in ulk:‘u. nder the banner of United Artists, st that the new work will mark the sta: ban- donment of her old type of role and a definite switch to modern characteriza- tions as a dramatic actress. The play? Well, it was selected “as the ideal vehicle for Miss Gish after At the Church Consents. books and original stories had been der consideration | over & period of several months.” 1t is nothing more, nothing less, than Mol- Inar's “The Swan.” As to whether it | actually provides Miss Gish with & new |type of role is debatable. Some ob- | servers must surely feel that the flurried | little princess who, though romantically inclined to the humble tutor in the voyal household, marries the “other man” of princely blood, 'will provide Miss Gish an opportunity to employ most of the well known Gish devices— the devices of winsomeness, demureness and eventual heart-break: for the films. .| we may be sure, will break the maiden's heart, Mol or no. Conrad Nagel is to play the tutor, Rod La Rocque will be the prince and Mar‘le Dressler will portray the queen-mother. Miss Gish's final abdication to talk- ing pictures came only after she had maintained a stanch loyalty to the art of silent screen expression, in which she had achieved renown. 8he con- siders that the talkies have now passed their experimental ltu-. and capitu- lated to audibility} not with resigna- tion but with enthusiasm. At least Mr. Schenck says she did. e Gorgeous Illumination. NE HUNDRED expert motion pic- handle the vast battery of incandescent and “hard” carbon lights used in film- ing the lavish theatrical revue sequences of “The Dance of Life,” which origi- nally was the successful '“F play | “Burlesque.” An average motion pic- | ture set ru"ulrea 10 or 12 electricians. The lighting was in charge of Earl Miller, head of Paramount’s electrical | department. About 17,500 amperes of | electrical energy were consumed. Four | portable generators augmented the | Eower avallable from the. studio power- | house. Because of the multiple brilliance of mirror reflectors behind each light unit, | it 1s declared impossible to estimate the | candlepower which was used on the ub‘e | | An idea of the amount of light m: BILLIE DOVE Waiting at the ehurch in a scene from “The Painted Angel,” the star's nevelt‘ vehiele. MRS. WILSON-GREENE’S CONCERTS, 1929-30 POLI'S THEATER—4:30 Season 1929-30 PHILHARMONIC COURSE & TR Rakitg DIMIR HOROWITZ :}unm of the Rising ARGE) i 1 DR RN S 0 D GIG Ope: "SPECIAL ANNOUNCEMENT ,WILSON-GREENE COURSE | e em-;nu'. :‘1?: s of us sriists, Nov, 19, RCHESTRA men 14, B SYMPHONY O With the most dynamic of all Playing her own concerio Jan. 11, SIGRID ONEGIN Jan. 25, JASCHA HEIFETZ Feb, 8, RAISA AND RIMINI la't"(sl".'l‘fiil’tll A "“”fin- . HOMER' amous Ffi Ite AND HER DAUGHTERS ‘.!‘(:".’u.t.rl -um. "‘"?".: .lhlil m lickeis on° sai conrica, 300 Mrs. Greene's T st "District 619, | gained from the fact that one sun arc, | the largest unit in the battery, delivers | 750,000 candlepower. | 18-inch reflectors, 30 24-inch reflectors, | 20 120-ampere spots, 30 100-ampere | rotaries and 124 500-watt lamps in the | footlights. The sequence of the “Dance of Life,” which “‘}:“"d all this lighting, is & scene from the “Follies,” in which scares of gargeously dressed girls ap- pear in lavish settings; beautiful cho- ruses dance and cavort and s 32-piece orchestra plays. The whole scene is one of splendor and light. Trior to Its New “JUNE A New With an Uncommoni NORMAN FOSTER LEE PATRICK - JEAN DIXON FRANK CONLON FLORENCE RICE EMIL HOCH \FA “HERFRIEN 1. ture electriclans were required to ‘There were 30 of | | these sun arc lights, together with 142 | SHUBERT ELASC MGMT. LEE AND J. J. SHUBERT NEXT WEEK BEG. "WILLI VERSHA IN A MODERN COMEDY nd HARRISON -1929—-PART 4. Unusual Secreen Notes. LOI! MORAN, playing the feminine # lead in “A Song of Kentucky,” is said to have participated in the longest close-up ever made for the screen. It lasted 11 minutes and took up 1,000 feet of film, Roland_Drew, who played opposite Dolores Del Rio in “Ramona” and “Evi line,” 1s to many fans the ver personification of Latin romantic appeal, notwithstanding which he was born as Walter Goss in Flushing, Long Island. He was a reporter on & New York daly r‘\'lhm a producer drafted him for the ms. A. A. Kline, writer of screen stories ard dialogue, is press agented as being inténsely interested in American foik lore, a subject upon which he is prepar- ing a large volume. One of his most recent chapters was gleaned in a Wis- consin community of Swiss cheese makers, the “aristocrats of their pro- fession.” Mr. Kline says: “I spent sev- eral months among them and gained some magnificent material.” i ‘Taking a suggestion from the old in- stitution of “comedy relief” in straight | drama, Director Leo McCarey inter- spersed the rollicking sequences of “Red Hot Rhythm” with what he called ‘beauty relief,” which consisted of danc- ing girls and supper club scenes. Next | we will problhlf' have “tra, 5 | “melodrama relief,” “‘song relief” and | such, after which we will be much in need of “relief relief.” Harriet Hawley Locher, who has been | assoclated for the past several years | with educational and Americanization work in conjunction with motion pic- tures, and whose work in this connec- tion has become widely known, is to at- tend a motion picture conference in New York this week, organized by the Hays committee. r!acher wfil be accompanied to the conference by Mrs. Mina Church Brann, chairman of mo- tion pictures for the Mongomery County Federation of Women's Clubs. Among the subjects to be considered at the New York conference will be the educa- tional aspects of the talking picture, s for co-operative community wurk and sales and distribution problems. Al Jolson's next production, “Mam- my,” will make extensive use of tech® nicolor, it has been announced. One of the jurors in the court se- uences of “The Drake Case” fell aslesp luring the making of the picture. The assistant director was about to wake him up when Director Edward Laemmle stopped him. “Let him sleep,” said the chief, “it's perfectly natural 80 ‘the cameras ground on. Both Victor McLaglen and Conrad Nagel are to sing in their next pictures. “The Well Dressed Mar { will intone in strong, deep, presumab.y | musical_accents, while Nagel in “The | Sacred Flame” will introduce the theme song itself, no less. The London Times reports that the | French will have a Hollywood on the Riviera shortly, the studio buildings to be erected by Germany as “reparations in kind” under the war debt agreemen. | The French ministry of war is reported to have stipulated that the studios be so constructed as to be convertible at | need into aircraft and troop sheds. A special performance for dogs was | iven recently in a London cinema | ouse. The canines came in goodiy number, all on leash. The first screen | | feature ‘revealed a vaudeville act with dog performers; there was little enthu- siasm in the audience. The second pic- ture was a Rin-Tin-Tin film; there ! were barks of approval. The big even' | of the show was the last reel, which | | showed a stag in full pursuit. Three | | great deerhounds in the audience tore | | from their mistress’ leashes, jumped to | the stage and b.'f.n clawing and biting | at the sereen. The show was stopped, | but is to be repeated weekly. ' il gontvitihunt v 48 f Children in Pictures. & i | THE venture of intrusting to 14-year- | i old children twe of the most im- | portant roles in a big feature picture has worked out te the satisfaction of the | director and the author, at least in the | | case of Tom Brown and Patricia Deer- ing in ‘The Lady Lies,” now at the, Earle Theater. |, Director Hobart Henley said this of | them ‘when production was nearly com- | pleted at the Paramount Long Island | studio, He added: “A director in handling intelligent { chtld actors will find that they give him behave than he gives them. These two in our picture are unusual children. ‘They have talent and they are amaz- ingly bright. They are natural actors. obtaining a lifelike performance than training.” John Meehan, author of the play. who directed the dialogue, was equally en- thusiastic about the children. Child actors in some respects are more desirable than adults, aceording to Henley and Meehan, for they have greater natural adaptability and power of mimicry than the average grown per- sons, and,they approach a part with more enthusiasm. They seldom come to the performance without their lines be- Charles Macalester Leaves Tth St. Whart Today, 2:30 P. M. Returning te City About 6:30 orie Fetomas Round Trip, 75¢ 0o MONDAY Mats, at 2:30 Wed.,, 50¢ to $1.50 Sat., more jdeas about how a child would | ! Those qualities are much more usetul in | any stage experience or dramatic school | AMUSEMENTS. Fox Anniversary 'HE Fox theater in Washington i celebrating its second anniversary as one of the leading picture houses of Washington and a factor in the daily lives of many of its people, Two years ago, under the direction of the famous Roxy, S. L, Rothafel, the theater opened its doors with great eclat and distinguished patronage to an ac- tive and successful career which has never slackened, but has kept pace with the amazing development of the movie in its silence to a living, talking necessity of the present day. In every feature of entertainment made popular in the movie nalaces of the world the Fox has been among the leaders, never a follower. Among the outstanding screen pro- ductions that it has exhibited may be mentioned “What Price Glory!” “Sev- enth Heaven.,” “East Side, West Side,” “Loves of Carmen,” “Street Angel 5 ‘Mother Knows Best,” x_talking picture, “Hearts in e,” “Speakeas; “Fox Movie- tone Follles of 1929,” “The Cock Eyed World,” and many, many others fa- mous in the world of photoplay pro- duction leading up to “Salute,” the pleture of the current week, which was “Grandeur,” close ahead and in which the previous limitations of the small screen have been overcome. ‘The famous Roxy, as a matter of course, could not always remasin, but that wise and able showman has had quite a list of eminently qualified suc- cessors to follow him, all of whom have added their contributions in one form or another to enhance and to im- prove the local entertainment, includ- ing §. J. Stebbins, famous for his au*e creations; Joseph La Rose, who still is an important factor in ike lighting and routine in the latest and most brilllant of noveltles, the “Fan- chon-Marco Ideas.” and C. F. W:n- chester, who .worked his way to his grexenl successful position from the umble station of doorman. Meyer Davis also has played his part in the glories of the Fox as supervis- ing director of the Fox Grand Or- chestra of 40 musicians, which, under the direction of Leon Brusiloff, has al- ternated between the orchestra pit and the stage, on ths latter establishing new fame as “The Melody Masters,” and “The Jazzmanians.” ‘The Fox feels that it has many things to be proud of, and it enters its third year with vim and purpose and movietoned at Annapolis and West Point, with the newest Fox creation, bl et ideas in abundance to achieve the goal of a leader among the leaders. Life Is Earnest WOR.KING in the talkies has proved such a re!u‘; of sweet occupa- tion to Constance Bennett, after three years of doing nothing but enjoy her- self, that the Pathe press department has written a story about her return to the camp of labor, all authentically in quotation marks. Give ear and learn all over again the joys of being busy: “For a few months after I left the screen,” confesses Miss Bennett, “I thoroughly enjoyed the life of leisure, but I come from a long line of hard- working stage people, who have been accustomed to expending !heir energy and vitality on the cres'ion of dra- matic roles. After a few months it became extremely difficult for me to ]r;;oz any pleasure out of a purely social ife. Mediterranea having a villa at Biarritz and a wonderful establishment in Paris. But yachting and house parties grow dull if you have no in. teresting work to offset these recrea- ns. “In Paris I had the delight of fre- quently having about my dinner table Next Week's photoplayl. PALACE — “Three Live Ghosts,” all-talking ghosts, because the picture is de- scribed as an “all-talkie,” from the noted play of the stage. FOX—May McAvoy co- starred with Monte Blue in “No Defense.” COLUMBIA—Following “The Dance of Life," when its run ends, Gloria Swan- son's latest talking pic- ture, “The Trespasser.” “I did enjoy yachting parties on the | |a company which included diplomats, generals, artists and musicians. One | could never grow tired of the company or conversation of such inspiring peo- | ple. But after my guests had goneé | home I frequently asked myself, ‘what | are you accomplishing to keep pace with all these others?” And the an- { swer had to be ‘Nothing." “Now I am back at work, doing the thing that I love. I shall never try | idleness again. Work is the only sure | panacea I have ever found for disap- peintment or heartbreak.” | And that's the end of the story, ex- ice]:vn for a paragraph which notes that { Miss Bennett's return > the screen is i in the starring role of “Rich People.” | e iy E Margaret Kennedy's Story. ¢¢T'HE CONSTANT NYMPH.,” Mar- | garet Kennedy's novel, that Deems | Taylor_called “the best musical novel cince Romain Rolland’s ‘Jean Christo- phe’” as many will remember, was dramatized for the stage and ran a full year in New Yoik. An English version | of the story was made by Gainsborough | Pictures, Inc, from a scenario pre- { pared_by ‘the author in_collaboration { with Basil Dean, and a poll conducted |by the London Film Weekly voted it ane of the outstanding productions of | the English film industry, and stamped the performance in it of Miss Mabel | Poulton as the best ever given by an actress for the English screen | Basil Dean, the well known British | producing manager, staged both the | play and the screen production. Miss | Poulton, who won fame in the picture |and was at one time a London stenog- rapher, plays the role of Tessa, and won |a long-term contract for her work in | the picture, which was her first stellar {effort in the films. New York eritics | have declared the picture as even | greater than the piay. It was filmed at {the English scenes described in the ! stor; TICKETS NOW SELLING PHILADELPHIA ORCHESTRA LEOFOLD STOKOWSK o SSTP GARRILOWITSCH tors FOUR CONCERTS--NOV. 5, DEC. 10, JAN. 21, FEB. 18, at 4:30 in the mew "CONSTITUTION HALL-~18th and D Sis. N. W. Tiekets for series, $12.00, §10.00, §7.50, 1330 G fireet, in Note—Mr. Stokowski and Mr. Ga witsch will $5.00, $4.00. T Arihur Smith Buresu, Kitt’s Musie Co. t two eomeorts each. PHILHARMONIC SYMPHONY Orchestra of New York Willem Mengelberg Arture [ Toscaninl, Bernardino Molinarf, etor THREE CONCERTS CONSTITUTION HALL--JAN. 7, JAN. 28, MAR. 4, at 4:30 Tiekels, $9.00, $7.50, $5.00. $3.75, $3. tn Homer Kitt's .00. T Arthur Smith Bureau, Musie Co. STARTING TONIGHT Manths Boston 15 Months New. York. 3 Months Philadelp] hia 4 Months'at Moulin Rouge Pa NEXT WEEK SEXTs"Thurs. Beginn SAM H. HARKIS Presents York Presentation Play by RING LARDNER & GEORGE S. KAUFMAN ly Fise Cast, Including LINDA WATKINS HARRY ROSENTHAL FRANK OTTO LEO KENNEDY PHILIP LOEB MARGARET LEE MON. SEPT. 30 SEATS TWURS. ER Presents AM M D, THEKING" > ""’“_ o ki 900 1p $3.00: Wed, Mat, ‘I'he Musical Comedy MARK ing SUNDAY NITE That Will Live Forever TWAINS A CONNECTICUT YANKEE Atantad hy FIFL NS, Nights, $1.00 to $3.00. Wed. Mat., 2. 150 & $1.80) .00; 2d Bal., 80e. 500 to $2.50. RODCFRS and HART B50c te $1.50. Sat. M: OCT. 7th naTL_onnRRS 00 & $1.50: 24 Bal, $1.00. Wed. Mat.: ‘24’ Bai G0e. Sai. Mit: Orehs $8.0) THE THEATER GUILD OF NEW YORK Presents THE THEATER GUILD In the First Pr Subserip ACTING COMPANY etlon of the First Washington ion Seaxon. EUGENE O’NEILL'S Satiric Comedy MARCO Origindl Preduction Week Oct. 14— “Volpone.” MILLIONS Company of 68 Week Oct. 21—“R. U. R,”