Evening Star Newspaper, September 22, 1929, Page 59

AMUSEM T 'F News and Comment ago, a pre-view of the new Doug Fairbanks-Mary Pickford picture, “The Taming of the Shrew,” in Hollywood, and various are the comments that have come East regarding this venture into Shakespeare by two of the screen’s best- known players. In the first place, says one critic, many Shakespearean followers will as- sert that the portrayals of the two stars are not according to «tradition; but it must be said that both members of the Fairbanks family render intelligent charac- terizations. ence laughed heartily at several situations in the piece, although there seemed to be more enjoy- ment in the knockabout comedy. However, it is claimed that diffi- culty was experienced in obtain- ing the audience’s reaction to the picture as a whole. The picture is very short, run- ning only a few minutes over an hour. from the old-fashioned manner of presenting the play, and yet not in any objectionable way. They have pepped it up and modified it here and there, with a probable idea of making it more popular with the theatergoers of today.| Doug’s voice is “none too impres sive,” according to one reviewer, and “occasionally he is none too | sure of himself.” Mary’s role isnot | quite so prominent as her hus- band’s, but she does well with | every opportunity presented. Any photoplay with such stars as Mary and Doug should be 2 big box-office attraction, but those who have viewed the picture say.! that “The Taming of the Shrew” | will appeal for only a limited time: | that the picture will not be of | road-show caliber. Of course, we must understand | that this is the Hollywood opin- | fon, and a Hollywood opinion has | just about a fifty-fifty chance of being wrong. We must wait for| the Washington presentation of | “The Taming of the Shrew.” * X Xk X ‘A LL sorts of comment have been made regarding the great popularity of “The Cock-Eyed‘ World,” which has turned out to be N especially invited audience A attended, a few evenings one of the biggest money-makers | F of motion picture history. One | writer says its box-office attrac- | tion can be blamed upon the cen- sors, who “dozed when they re- viewed the picture, thereby caus- ing a box-office stampede.” An- other says it is a “natural reac- tion against silly censorship—a gallant rebellion against the curse of primness.” The picture has nothing of artistic merit, and It might be classed as a second-rate effort, but its ribald comedy is presented with skill. * k ok X ERE is a bit of news from the | studios: Paramount will use| “sound perspective” in a new pic- ture, “Applause.” In these col- umns, a Sunday or so ago, remark | was made of the necessity of such | a move. It was pointed out that a player spoke in the same tone of voice at the front of the stage as was used from a far background. There was no change in the voice tone—no fade-out or enlargement of quality. The new “sound per- spective” describes the diminu- tion of sound in relation to dis- tance in the same ratio that ob- jects pictorially diminish as dis- tance increases. It even goes farther than this in the actual application. * k k X ALTHOUGH the Soviet govern- ment of Russia has taken an active interest in motion pictures, Australia is the first to offer ac- tual financial reward for excep- tional pictures. The motion pic- ture division of the Department of Commerce announces that the Australian government offers prizes amounting to $50,000 for the best scenarios written by Australians. * k ¥ % C GRAHAM BAKER, scenario * chief of the First National- Vitaphone studios, comes to the front for the new group of scen- ario writers, the men who are pre- paring the sound pictures “for ublication.” “The old, slipshod ack writing is gone forever,” he says, “and along with it the un- cultured, uneducated scenarist | who crept into silent pictures in | the days when the director was chosen because he could out-shout | all his actors. Now we demand cultured writers, who have the necessary background to know what they are writing about. When we turn a script over to a director the picture is ready to make. All it needs is some deco- ration. 2 “Stage writers can write words, but writers of motion picture dia- Jogue must visualize the action, too. They must take into con- sideration the personalities of the actors and the directors. They must know the technique of pic- tures as well as drama and stage Jore. The sound pictures have brought to the screen a wealth of story material that would have shes From te Screen The pre-view audi-| The stars have departed |gu | by one producer making a | Desert Song.‘; ENTS. of the Picture World BY C. E. NELSON makes this ssible. ~ Another change brought about by the talking pictures is the scrapping of old-style continuity. This con- tinuity explained the various camera ‘shots’ or angles, and now these are all taken in the master scene, with four or more cameras, so0 the writer does not write con- tinuity any more.” Baker holds out hope that 12 the months to come che producers will drop the plots which have been in vogue since the advent {of the talkies. He says: “Pic- | tures go in cycles. We have had ‘war stories, underworld stories tand back-stage stories, but these are about ended. From now on |the production organizations will attempt to have well balanced programs, with all sorts of pic- tures, just as each company at- tempts to have among its contract players all types of stars.” This latter plan is a good one. The theatergoing public is get- ting pretty tired of back-stage plots and the rattle of machine ns. This department has queried a number of times as tc why the picture makers were sending out so many stories of the same character. The answer ic rather easy to one who has fol- lowed the ideas of the magnates. For instance, along comes a pro- ducer with a story of the char- acter .of “Broadway Melody,” which turns out to be 2 big box- office attraction. Other produc- ers, following closely the profit- and-loss columns, see what “Broadway Melody” has accom- plished. They call their directors, rush through a few back-stage stories and every producer in the game is advertising just such a sound film. Then, too, the back- stage story lent itself well to the sound pictures; there was a chance to string together a snappy plot, a chance to produce consid- erable music and a chance to show the girls. Rjcture production may travel along in cycles, but the cycles are usually occaslon}s«% ) with a certain type of picture. The successful producer is the bellweather, or the leader of the flock. * ok K K 'OLLOWING the stars of the stage, the opera and concert singers are entering picture work. |John McCormack was the first of the high-priced singers to lend his voice to the recording micro- phone, and he is now working in a picture in Ireland. Bernice Claire, a protege of Mme. Jeritza, has signed a eontract with First National, and she will sing in “No, No, Nanette.” Miss Claire was a member of the San Carlos Opera Co., and at 20 years of age she became the prima donna of thel New York production of “The * % CONSIDERABLE interest is man- ifested in the new picture which Al Jolson will start within a few days. The story, “Mr.| Bones,” was written by Irving| Berlm, and Michael Curtiz will| direct. Lois Moran has been selected for the feminine lead. and a few of the other members of the cast are Louise Dresser, Lowell Sherman. Tully Marshall and Mitchell Lewis. Of course, the Vita- phone will be used, and Al wiil sing any number of new songs. It may be that the story gets away from “The Jazz Singer” theme. which has just about run its | course, according to any number of movie patrons. We are ex- pecting much of this “Mr. Bones.” * % %k k SHORT FLASHES. N the callboard of the First National studio, in Holly- wood, last week was listed a re- quest for the following movie players: A stuttering man, a stammering woman, & hair-lipped man, a handsome young man with a cold in his head and a lisping Negro girl, 12 years old. The di- rectors say that “realism demands allgsorts of voices for the new sound pictures.” / Alice White’s real name is Alva White. She was born in Pater- son, N, J., if you should care to know, and she attended a board- | ing school down in Virginia. Douglas Fairbanks, jr., is play- ing foot ball with a high school team. But only for scenes of “The Forward Pass.” The German producing com- panies dre %oing in for sound pic- tures and the first pictures, ad- vertised as 100 per cent German talkies, will be exhibited this Fall in_Berlin. Louise Fazenda has the femi- nine lead in the Christie picture “Faro Nell.” Margaret Mann has been added to the cast of “Disraeli,” starring George Arliss. Warner Brothers are producing and Alfred E. Green is directing. Gary Cooper has started work on “Medals,” a film adaptation of a Barrie play, “An Old Lady Shows Her Medals.” “The Man” is the working title given the next John Barrymére been entirely unsuitable for silent drama. The rapid-fire dialogue A scintillaging swirl of ac production. It will be started in September NOW PLAYING THE wonder picture! The sensational - stage - bit, “BURLESQUE.” ALL-TALK. ING, ALL-SINGING, .ALL- DANCING, ALL-LAUGHING —Throbbing. show-life lovd. drama which thrilled New York. Comical, art-br ing backstage burlesq ous Brndvuf revue TECHNICOLOR. flled romance | THE DANCE OF LIFE featuring HAL SKELLY-NANCY CARROLL been | THE SUNDAY STAR, WASHINGTON, D. €, SEPTEMBER 22, 1929—PART 4. ' Phot(_)plays at Washington Theaters This Week BERE o Sunday Monday Tuesday Wednesday Thursday Friday' Saturday B’llwmlfi".l Ml i Com Ambassad’r DRI Thert and bert"and Claudette Colbert and Ciaudette Colbert and er Fiuston in he L Comedr " YACLady Thes” ® comeds. - Norma Shearer in “The_Last of Mrs. ney.” heyney. Vitaphone 1eel. Norma Sheare: TR ey Vitaphone_reel. Dolores Costells 1n “Madonna of Ave- Ben Lyon «Te B e My ine. nue A. B Vitaphore reel. iz Boy comedy. Vitaphone _reei. Apollo Mulhall'in ‘win 5 Vitaphone_reel. vi Fatgy Rutn Millor (7dPatey Ruth Millor i Jagl Jagk Mulhal Bophie Tucker Beds." “Honky Tonk.” Comedy. itaphons_reel. Bophie Tucker Marceline “Honky Tonk.' Variety reel. Comedy. Vitaphone_reel, Myrna Loy in “Hardboiled Rose." Jerry Drew comedy. Vitaphone reel. Betty Compson . ‘The Time, Piace and the Girl.” Roach_comedy. Coll Avalon naling DieR Eyen B Dolores Costello in “Madonna of Ave- nue A flennett_comed$ lleen Moore in ling Irish Eyes.” Dolores Costeilo in Greta (i Dlilkonna of Ave- “The Bingle Stand- nue A" flennetr, comedy. Jack Mulhall and Dorothy Mackaill “Two Weeks Of " William Bovd in, “The Flylng Fool." upino Lane’ comedy. _Vitaphone_reel. Bophie Tucker “Honky Tonk. Comedy. Krazy Kat_cartoon. n Ave. Grand Xra: Bophie Tucker In _ Patsy Ruth Miller and Patsy Rut] “Honky "Tonk. Jack Mulhall Jnck Come n 7y Kau_cartoon. “Twin Beds.” h Milles Mulhall n “Twin Beds.” Myrna Loy “HardBoiled Fose.” Sennett comedy. Vitaphone reel. Tawrence Gray in “Trant’s Last Case.” Comedsy. YVitaphone reel Ken Maynard in “The Glorious Trail.” Our Gang comedy. __Vitaphona_reel Dark. Lau Bethesda ra_La Plante in Davey Lee in “Scandal.” i ‘Sonny Boy."” “wonder of Women." Lewis Stone in Buddy Rogers in “Red Lips.” Jesste James, r, “The Strance Case n “Under the Black R . %) of Fapt. Ramper."” Richard Barthelmess Carolina and G e “The Dras. Richi al ard Bartl nd Lil n “The Drar William _Powell Eveyln Bren in “Interference.” Jack Holt in Card YVatanche.” Richard Dix in Reginald Denny 1n Richard Dix 2 “Warming Up." is Lucky Day.” AMUSEMENTS. Worth Belittled Rises. ‘T is a favorite trick in the theater— and perhaps in the world at large— to belittle worth with a tag or nickname in order to avoid giving it the recogni- tion it really merits. For instance, with the fading from | popularity of vaudeville, in which in its heyday the most talented people of the theater have appeared, the once favorite song-and. ce team has come to be called “hoofers.” And today many a salary is kept within bounds by calling a dancer a “hoofer,” The g actor | long ago became “4 ham,” and many other instances might be cited. But the trick has never worked with the girls of the musical stage who break into dramatic life via the chorus. The 1eason is simple. You simply cannot keep a chorus girl down if she is wise as to her opportuni- ties. Give her the most modest of duties and in one way or ancther—it may be with her eyes, a toss of her feet, a roguish smile or a saucy gwist of her personality—she soon forcks an audi- “The Strange of Central n. ““Thunder.’ i. Vitaphone_teel. Ton Chaney William Boyd n “The Leatherneck.’ ‘Thunder. Vitaphone_reel. William Boyd n “The Leatherneck.” Vitaphone _reel. Myrna Loy in “Hardboiled Rose." Comedy. one _reel._ William Boyd ard e gondal 1h Circle «Lady of the Pave- ments." William_Boyd and Jetta Goudal in “Lady of the Pave- ments."” Mary Astor and Robert _Armstrons in “The Woman Fiom John Barrymore in “Eternal 2 Vitapnone 1 Ronpld Colnian and Lila Damita Love. n * Rescus. Sue Carol_and Nick Sluart in “Chas'az_Throush Europe.’ Rod La Rocgue and in Marceline Da: “The O Colieen Moore_in co «amiling. Irish Evee.” “Smi Colony Greta Garbo in lleen Moore in ¥ “The Single Stand. ling Irish Eses.” ard. Norma Shearer n “The Trial of Mary Dugan.” Jack Mulhall and ‘Dorothy Mackaill in “Two, ks Ofr." en Maynard ia e Glorious Trafl.” Biz Boy comedy Vitaphone_reel. wufi-?ln;‘ Boyd “The Flyinz Fool." Vitaphone “The Hole in the Wall. Comedy. Dumbarton “The Hole in the Wall" ina Loy in My " Come(dy. “Hardbolled Rose. Jeanne Eagels n “The Letter." Comedy. .ru?uig Eagels “The Letter.” Comedy. Dolores Costello and Ralgh Graves in “The Glad Rag Doll." Comedsy. Mix 4 Tom n, “The Drifter.” Richard partheimess Rich wpiag. Hippodr'me Anne Cnris‘le “Just Oft Broadway.” Variety reel. jard_Barthelmess “Drag.” Snapshots. “Queen of the Night Club.” Emil Jannings “‘Betrayal.”" “Young_ Hopetul." Texas Guinan in Comedy. Emil Jannings Lois Wilson in e “Gamblers."” “‘Betrayal.'’ “Clunked on the Corner. " “Young_Hopeful " Snapshots. Warner Bros'. Home “On With the Show." ‘Warner, Bros'. “On With the Show.” Colleen Moore “Smiling Irish Eves.” Vitaphone _reel. “Smilin t Colleen Moore n Jrish Efes.” Vitaphone _reel Greta Garbo in “The Single Stand- ar Vitaphone_reel. William Boyd 1n ““The Flying Fool." Roach comedy. Vitaphone reel. _ Gertrude Olm:tead in “Tng Lone Wolf's er.” Dauir Tupiny_Lane_comeds, Eleanor_Boardman in “She * Jesse ‘aoea 1o War." Eleanor Boardman in “Bhe Goes to War." Buddy Rogers in “River of Romance.” Alice White in James Murray in “Broadway Bables.” “'Shakedown.” Adolphe Menjou in La Plante in “Fashions in Love. Ton Chaney n “Where East Is East.” “Fishing. Fool." Leader it 2 onte Blue in “Conquest.” “Loose Change.” “Howling_Follywaod. Lila Lee tle ‘Wild_GIrl” s Pest.” Janet Gavior AT Joison In i “$inging_Fool.” “Angel of Bioadwa: Other: “True Heaven. d €. “Growing Pains.” Billie Dove in “Adoration.” Liberty A n “River_Roman: “Motor Boat Mamas'" ache “The Apf % is New Steno rapher.” Irene Rich in “Shanghai Rose.” “Girlles. Behave." Phylils Haver in “Battle of Sexes.” “Sacred Baboon."" Ronald Colman in “Two Lovers. “War_Dogs.” " in “Wheel of Life n “Btairs of Band.” Serial No_Chlidren.” Rex. the horse New Harvest of Hi e “Daring Chai “Gloom “An “South of Panama."”, Rod La Rocque in “Capi. Huagee “Helter Skelte ‘Orientai Album.’” “On the Move.” Clara Bow in “The Wiid Party.” Cgmedy. ws. Princess Clara Bow in “The Wild Party.” Comedy. Wallace Beery and Chester Conklin in “f.airs f Sand.” News. James Murray in ““Shakedown." Novelty reel. “Buttui My Pack.” Corini TIflith in +Saturday’s Children. Cartocn. Variety. News. virkinia Brown in “House of Shame." “Puckered Success.” ““In_the Bag." Tom Mix in “Bot. Boiled.” “Prowling Around France.” Hoot Gibson in Richmond Alexandris, Vs, Dark. Colleen Moore Colleen Moore n Smiling Irish “Smiling Irith Eves.” Eves.” Pauline Frederick in AUGn Trial. Billle Dove in in {Man and the “Man and the Moment."” ‘Moment " Ricardo Cortez.in “New_Orleans.” Vitsphone reel. “The Savoy . Wm. Jaciueline g n in Warner B Bachelor Girl.” Comedy. a ros’. “On With the Show.” Betty Gafter 1n “The Ware Case." Lupino Lane comedy. Vitaphoe reel. William Boyd n “The Leatherneck.” Comedy. Lella Hyams in “The Far Call’ Sennett comedy. Metro_short_subject. Richard Arlen aud Mary Brian in “The Man I Love.” Vitaphone reel Topics af the DAy. is Moran in Takoma “words ana Muste” o Lo} = Emil Jannings s Moran n “The Beuraval.” Comedy. in rds and Music.” Emil Jannings L Castaria n n_ Chane: ““fhunder.” Charles_Morton .n Lon_Chaney in he Call.* “Thunder." Norma Sheater in “The_Last of Mrs. Gheyney. News. _Vitaphone. Tivoli Ne: Norma Shearer in “The Last of Mrs. Conrad Nagel and fe Love in Cheyney. ws. _Vitaphone. Conrad Nagel and Bessie Love in Ruth Chatterton in ;The Idie Rich, " “Madam X." Ruth Chatterton in “Madam X." ‘Bophie_Tucker “Honky Tonk."” Comedy. * York ‘Bophie Tucker Patsy Ruth Miller and Jack Mulhall n, ‘Honky Tonk.” n Comedsy. “Twin Beds.” Bert_Lytell and Gertrude Olmstead in “The Lone Wolf's Vita. Patsy Ruth Miller and Jack Mulhall in “Twin Beds.” Daughter.” ester Conklin and Louise Fazenda in *The House of Hor- rors.” Comedy. Vita. Betty Compson and Grant Withers in “The Time, the Place and the Girl.” Vita. O'Neill Characteristics. INESCAPABLE characteristics of Eu- gene O'Neill, author of “Marco Mil- lions,” which the New York Theater | Guild will present at the National Thea- ter in October, are the power, the con- viction, the sureness of the dark, tall, | lean man with the burning eyes. He | has got the wildcat by the tail and he | is not afraid. After 12 years’ work and some 30 plays written, he is convinced that there is nothing that cannot be done on the stage. The only thing you | have to do is to decide what you want to do and then find the means to do it— that is, if you are Eugene O'Neill. He believes our drama has been | cramped and loaded down with the | weight of its own machinery. like all | our modern processes of life. He would | restore th&suprtmmcy of the idea over | the machfhery, set the end above the | means. He would use the marvelous | contraptions of a modern stage, its| lights and the rest, not as toys to amuse | grown-up children, but as slaves of the | dramatist’s magic lamp, with due econ- | omy observed in the name of truth and | the interest of art. | So ideal is O'Neill about ideas that | he tries to be a symbolist. Sometimes he succeeds. Fortunately, the Irish in| him keeps his ideas so human that usually drama rises triumphant and shrill from the symbolistic clutter. He , nevertheless, a man set surely upon | is road and bent to go his own way, quite clear that it is leading in the right direction and that this direction is toward the emancipation of the theater. Stepin Fetchit. NO screen artist is said to be grow- ing in popularity throughout the world faster than Stepin Fetchit, the inimitable colored comedian whom Hol- lywood screen scouts discovered in a small vaudeville act in San Diego, Calif. And no actor, it is claimed, has taken success with better grace and more modesty than this former Key West shiner of shoes, medicine-show per- former and rubber of Step and Fetchit, the thoroughbred race horse from which he obtained his own stage name. Stepin_Fetchit, who was christened Lincoln Theodore Perry on the day of his birth, May 30, 1902, has been com- pared favorably by leading critics with the late Bert Willlams, greatest of Negro eomedians. Yet Stepin, who almost “steals” every picture in which he is cast, no matter how small his part, wishes people would not compare hllm with Bert Williams or with any one else. “There will never be any one like Bert Williams,” he says, “and Stepin Fetchit is always going to be Stepin Fetchit.” “Hearts in Dixie” gave Stepin an un- usually strong send-off in motlon pic- tures. He followed it with uniformly fine work in “The Fox Movietone Follies of 1929” as a slow-moving call boy, and his most recent screen role is that of Smoke Screen, a_servant in “Salute,” John Ford’s Fox Movietone production, which is now at the Fox Theater. ooy vauLEs I T vovies | DY VALLEE IN THE MOVIES L Sally Blaine aids Vallee in making the featured players in “Th> Vagabond up for screen work. Rudy and Sally are Lover.” A “Yankee" Song Hit. ¢ A CONNECTICUT YANKEE" which opens at the National Thea- | ter Monday night has a Richard Rodgers | score, and contains more than the aver- | age number of good songs. | 'To one of these hits, “My Heart Stood | Still,” goes the credit for at least a por- | tion of the show's popularity. This song | | was an English favorite long before | | American _ audiences heard it, and| | through the Prince of Wales it has| | gained considerable publicity. Itewas | counted on as one of the show's greatest | assets, and such it proved to be. < | “My Heart Stood Still” was first in- |troduced in London in_“One Dam | | Thing After Another.” Rodgers and | Lorenz Hart tried manfully to keep it | | from being played all over New York | before they brought “A Connecticut | Yankee” to town, and succeeded pretty | well. Both assert that it was instru- | mental in the success of the “‘Yankee.” | | although they credit “Thou Swell” with | also having attracted notice to the piece. | A GREAT NOVEL! A GREAT PLAY! A GREAT FILM! “THE CONSTANT NYMPH" From the Novel by Margoret Kennedy rected by Basil Dean LITTLE THEATRE, 9th, bet. F &4 G Met. 9183. C PRINCESS ciiea"sdt N NTHE WILD PARTY.” COMEDY AND v ALEXANDRIA, VA. | cessors followed in their footsteps. ence to sit up and take notice. The rest is between her and her manager, and as a rule she gets her advance- ment. The original sextet of the fa- mous production “Florodora” ultimately became quezn? or countesses, or some other high-claés and disgracefully.pros- perous ladles, and many of their suc-| In the gorgeous film reproduction of | the famous Belasco play “The Gold | Diggers” there is one explanation of how this was accomplished; for, unlike | the play, the film introduces the “merry | merries” both at work and at play. ‘Their is a sort of reverse action, how- ever, in the film, in that some of the ladies of the chorus, who, in fact, have | already touched the high spots, like Ann Pennington, Nancy Welford and | Lilyan Tnh%ln, are made to revert to the ranks. ut don't be deceived. It is onlv in the plav—only in the plav. A Paramount Picture- ALL TALKING JEANNE EAGLES In the story of a woman with a past. “JEALOUSY” With FREDRIC MARCH STAGE AL EVANS “The Prince of Good Fellows" In a melange of mirth and melody. “ROMANCE ISLE” ADDED ATTRACTIONS Howling Comedy From Start to Fintsh—Seasoned With Just tha Right Amount of Truth About Those New York Love Nest o o . With CHARLES RUGGLES In Paramount’s All-Talking Comedy Drama |'THE LADY LIES RACY—ZESTFUL—FUNNY WISECRACKS GALORE FRANK! RACY! SPICY! STANLEY-CRANDALL THEATERS DIRECTION WARNER BROS. P PLAYING IN COLOR! Opening the Treasure IChest of Entertainment BROADWAY~» A Warner Bros. Vitaphone Picture, With the Greatest Cast Ever Assembled WINNIE LIGHTNER ANN PENNINGTON NANCY WELFORD CONWAY TEARLE AMBASSADOR _c.l*"%! Col. R4. N.W. TODAY :AND TOMORROW_—CLAU- DETTE COLBERT AND WALTER HOUSTON in “‘THE Y P 1100% ALL-TALKING PICTURE). NE RICHMOND 350N % Toesaay COLLEEN MOORE in “SMILING IRISH EYES.” NEAL STERS ACT. TESSE THEATER 5.4 S5 "SHE GOES TO WAR” ELEAN ARDMAN. B 0. 5:00._7:00. :00, oR History Re Excmm years ago a 10-year-old boy and a man were walking along | the streets of Union Hill, N. J. ‘The boy was complaining. “Mr. Edwards,” he sald, “that girl 1 sing my song to is not so good— she doesn't pay any attention and when I can’t get a reaction I sing hke a dill pickle.” “Oh, is that so?” inquired Gus Ed- wards, with just a touch of sarcasm in his voice. “So you want to pick your leading ladies #ready, eh? Wel if you're so smart, let'’s see you do i “All right. How about that girl there?” ‘The boy dpo{nud to a little girl, about 4 years old, playing with a doll on a mch. The girl was very pretty and big dark eyes. “You're not such a bad picker at that,” Edwards answered. He knocked at the door of the house, introduced himself to the little girl's mother. After a family conference at Direct from their Sensation in Earl Carroll’s “Vanities” GEORGE DEWEY BARTO & MANN The Uproanous Laugh Kings, A Brillisnt PANCHON & MARCO ldes FANTASMA . and -JOHN Irving FISHER That Very Funny Pellow FOX MOVIETONE NEWS peats Itself. which the small boy was present as one of the chief arguers, the little girl was signed to a contract, The little girl was Lila Lee and the boy was George Jessel. played opposite Jessel in various Gus Edwards’ vaudeville acts. Recently when Jessel was signed to star in “Hurdy Gurdy Man" for Fox, the question of a leading lady arose. A dozen suggest#ons were made, the girls called in and each time Jessel turned thumbs down. “They won't do,” he said. “Well, if you're so smart, pick your suggestion. Jessel sent for Lila Lee. She was given a talking and screen test and then a contract was presented for her to sign. She plays opposite Jessel in “Hurdy Gurdy Man.” NOW PLAYING Lila for years | own leading lady,” was the challenging | CIRCLE 255 ot Jortn WILLIAM BOYD. JETTA GOUDAL, LUPE VELEZ, GEO. FAW- CETT. D, W. G 2 . GRIFFITH'S "LADY OF THE PAVEMENTS." TAKOMA 4th tternt its. No' Parking Troubles TODAY AND TOMORROW i Lois Moran 1 IN “WORDS AND MUSIC” ALL-TALKING, SINGING. DANCING __Continuous t 11 p.m. LIBERTY 1419 N. Capitol St. BUDDY ROGERS in “RIVER_OF ROMANCE." DUMBARTON 1313 Wisconsin Ave. CLAUDETTE COL- RT and EDWARD G. ROBINSON i “THE HOLE IN THE WALL" (1607 Talking). COMEDY. “WHO'S LYIN N_ Cap. & Fl: RICH. & BROOKE ARD BATHFELMI »_Talking Picture. MAURICE _ CHEVALIER TION OF AMERICA OF PARIS.” -every word of the sensational testimony RO KiLLED P Dw g APOLLO ¢ ® st NE. TODAY AND TOMORROW_| UTH MILLER AND JA HALL “TWIN BEDS" ALL-TALKING PICTURE 645 Pa. AVENUE GRAND % % TODAY _AND TOMORROW—_SOPHIE TUCKER in “HONKY TONK" (100% ALL-TALKING AND SING- ING PICTURE). & CENTRAL °t» 5t Bet. D and & TODAY AND TOMORROW—SPE- CIAL CAST in *- STRANGI CASE OF CAPTAIN RAMPER." NICK LUCAS P \_/ COLONY G Are. & Farrarut st. TODAY AND TOMORROW—COLLEEN OORE in “SMILING _IRISH EYES' (1007 ALL-TALKING AND_SINGING PICTURE). HOME 1230 C St. NE. TODAY AND _TO! WITH THE SHO BROS. FIRST COLOR SINGI DANCING _ALL-STAR CAST SAVOQY 1t & Cel Ba. N.W. TODAY—RICARDO CORTEZ AND ALMA BENNETT in “NEW TIVOLI ¥ & Far e &w TODAY AND TOMORROW-—— NORMA SHEARER in ~THE LAST OF MRS. CHEYNEY" (100% ALL-TALKING PICTURE). AVALON Conn. Ave. and MeKinley St. D. EYES" (1007 AND SINGING PICTURE). District of Columbia. THE EARLE—Thirteenth and E streets northwest. RIALTO—Ninth near G nbrthwest. AMBASSADOR—Eighteenth and Co- Ilumbia road northwest. APOLLO—624 H street northeast. AVENUE GRAND—645 Pennsylvania avenue southeast. CENTRAL—Ninth street between D and E. AVALON—Connecticut avenue and « McKinley street, D. C. COLONY—Georgia avenue and Far- ragut street. HOME—1230 C street northeast. TIVOLI—Fourteenth and Park road NEATEST OF ALL HYSTERY MURDER DRAMAS RFECT IN AND VOIC REPROBUCTION RIAIOZ northwest. YORK—Georgia avenue and Quebee street northwest. REPUBLIC—1343 You street north- west. ] STANTON—S515 C street mortheast. HAPPYLAND—1020 Seventh street DUNBAR — 1901 Seventh street northwest. Maryland. MARYLAND—Hagerstown, Md. CAPITOL—Cumberiand, Md. ll:c:a.\'rlou HALL—Indian Head, M UNIVERSAL—Shady Side, Md. LLOYD—South Cumberland, Md. MARYLAND--Frederick, Md. NEW—EIlkton, Md. TOME SCHOOL—Port Deposit, Md. MARADA—St. Michaels, Md. GLOBE—Berlin, Md. BETHESDA—Bethesda, Md. WEBB—Alberton, Md. MELVILLE~—Sykesville, Md. EMPIRE—Pocomoke City, Md. MARYLAND—Kitsmiller, Md. STATE—Westminster, Md. IMPERIAL—Brunswick, Md. PALACE—Frostburs, Md: 5 YORK G Ave- & Guebee 5t N.W. = TODAY AND TOMORROW-_SOPHIE TUCKER_ in “HONKY TONK" (1007 ALL-TALKING AND SING- ING PICTURE). Virginia. AMERICAN—Roanoke, Va. JEFFERSON—Charlottesville, Va. NEWPORT—Norfolk, Va. RIALTO—Danville, Va. COLONIAL—Winchester, Va. STRAND—Staunton, Va. BROADWAY—Danville, Va. NEW-—Lexington, Va. MASONIC—Clifton Forge, Va. OLIVER—Crewe, Va. BROADWAY—Hopewell, Va. COLONIAL—Fredericksburg, Va. VIRGINIA—Harrisonburg, Va. REGAL—Urbanna, Va. TOWN HALL—Tappahannock, Va. WEISS—Emporia, Va. STRAND—Roanoke, Va. AUDITORIUM—Onancock, Va. RITZ—Chatham, Va. BEDFORD—Bedford, Va. BOTETOURT—Fincastle, Va. EMPIRE—Saxis, Va. NELSON HALL—Lovingston, Va. .OPERA HOUSE—Bassett, Va. FIELDALE—Fieldale, Va. FRANKLIN—Rocky Mount, Va. GATES—Portsmouth, Va. NATIONAL SOLDIERS' HOME—Na- tiapal Soldiers Home, Va. MANHATTAN—Norfolk, Va. IDLE HOUR—Petersburg, Va. RELEE—Relee, Va. NEW-—Woodstock, Va. STRAND—Strasburg, Va. NEW MARKET—New Market, Va. JEFFERSON—Brookneal, Va. CAMEO—Lawrenceville, Va. ACleLLEB HIGH SCHOOL—Bena, a. LEE-JACKSON HIGH SCHOOL— Mathews, Va. West Virginia. BRIDGE—Petersburg, W. Va. OPERA HOUSE—Piedmont, W. Va. PRINCESS—Lewisburg, W. Va. BERKLEY—Berkley Springs, W. Va. RRIDGE—Paw Paw, W. Va: