Evening Star Newspaper, September 7, 1930, Page 51

HE theater shows symptoms of convalescence with the appear- ance of “Torch Song” and “Up Pops the Devil,” plays designed to_invigorate its impaired con- dition. Neither is of the tip-top kind that becomes a natural institution, but both are much above the run-of-the- mine. With so propitious a beginning, the season may be expected to produce an ‘entertainment of the caliber of “Strange Interlude” and “The Green Pastures.” At least the more hopeful addicts of the stage scan the skies with ism and prognosticate that the ‘comi year will be fruitful as usual. So unless the omens and the dramatists disappoint us, we shall have a few such angel visits as “Coquette” or “June Moon,” or “Ram,” or “Strictly Dishon- orable” ere Winter ends. Both “Torch Song” and “Up Pops the Devil” depend for their popularity upon the glitter of their lines, rather than their plots and characters. In “Torch Song” it is the penetrating lingo of the traveling salesmen that provides most of the recreation. One of these Main Street gypsies is a portly and senten- tious vender of undertakers' supplies. A capricious invention of the author, Kenyon Nicholson, this amusing mor- tician is expertly embalmed by Guy Kibbe in a merry and careful charac- terization. Even if Prof. Nicholson falters in the technique of his conflict of sex versus religion, you may depend wpon him and Mr. Kibbe to make you forget the play's flaws. It is, as you w, the story of a Cincinnati girl iss Mayo Methot) who is treated ‘badly by her lover, a commercial travel- er from Cleveland; tries to console her- self by joining the Salvation Army. But the beat of her heart’s pagan tom-toms is louder than the taps and jingles of her pious tambourine. * K % * IT is an age of wise cracking, and so the sagacious authors of “Up Pops the Devil” fatten their lean story with !:llm phrases tried and true. We are troduced in this lively comedy to the soarings and depressions of & group of infant Greenwich Villagers, drowning their haughty ambitions in torrents of bath tub gin. As they gather in the antique flat of Steve, a writer; and Anne, a serious dancer, their every speech is an echo of something that Broadway has said before. The pl dangles from the precarious situation of Anne, who is keeping Steve while he writes a book. They quarrel dramatic- ally in the second ‘act over a laundry bill; but at the end they are to be seen permanently in paradise in one an- other'’s arms. Roger Pryor, son of the famous bandmaster, Arthur Pryor, plays Steve in the over-ingratiating method of Owen Davis, jr., and is to be doubted at times. But all the others are little miracles of extravagant impersonations except the M¥ who_falsifies the role of an ingenue from the South. She is much too phony for comfort. Even if the comedy were not artifically amus- , the lovely rformance of Miss Sally Bates as e would make it important. A good-looking girl with an artistic knack of imitating emotions, she is one of the best of the stage's promises. * ok ok % Sourrims 1 wonder if the Big Shots of the theater realize that they are not beloved by their customers. ‘That the Broadway dramagoers have no fondness for them whatsoever, and - e that they go to plays full of hostility. The producers are regarded as inhos- pitable men inspiring hatred by their indifferent and ical attitude. They' are as much as Rocke- feller used to be, or J. Plerpont Morgan before Ivy Lee and other soothing press agents endeared them to the popuiace. * ok x % NOW comes Lee Shubert in a grace- ful mood of friendliness. Not long ago I suggested ironically that, since the producers often present plays in- credibly bad, it would be nice for them to submit their works to a jury of pro- fessional critics before they exposed them to the Broadway drama lovers. Mr. Shubert writes me as follows: Dear Mr. Hammond: Your recent Sunday article on bad plays which sometimes slip past the lines into Broadway theaters moves me to reply with an acceptance of the proposal you make. There is no reason why the dramatic critics should not be permitted o attend previews of mew productions for the purpose of passing on their | eligibility. | With the standards of plays changing | for the better every season, it becomes ! evident that the opinion of some disinterested group would be welcome. | I am sure that mo manager would lay claim to infallibility. Now and again even the most astute producer finds, to his amazement, that the play in which Ihe has put great faith does mot linger long. . The scheme you suggest could be ar- ranged with little trouble. It would not be difficult to invite the reviewers to a private showing immediately the members of the cast are jamiliar with their parts. This could be done about two weeks before New York opening, so that sufficient time would remain to make whatever changes the experts suggested, Of course, I can think of some slight handicaps which we would find it neces- sary to overcome. There might be an insuperable difference of opinion., Let us assume that ten critics, after attend- | ing one of these previews, wrote such dissimilar notices that the producer was left in a state of confusion. One eminent critic might write of a play: “Magnificent!” Another could say: “Impossible!” Suppose half the re- viewers callld the offering good, and the other half called it bad. Then there are so many degrees of value between these extremes. Is it possible that the advance opinions would occasionally ;'l‘nbne,’! all the way from excellent to ter- Our . new comedy, “Up Pops the Devil,” while it received consistently good notices, is a current ezample of what I mean. One of the critics found little or no merit in it, and sonie of his suggestions, 1{‘ Z,ut into eflect, would assuredly wor) the detriment of the play. Another objection—this was a minor one—was due to the fact that our young protagonists in the play lived together without bemefit of mar- riage. This, the critic claimed, made them unsympathetic. l{ your suggested plan becomes a reality, I am sure it would bring about a better and closer understandéng be- tween the critics and the producers in their task of staging plays—and this covers the whole range, from picking the play to casting it and directing it. I thank you, Mr. Hammond, for Your offer. Yours very truls Yy, LEE SHUBERT. Turning Backwards. IJUST as the incomparable talking pic- ture has the legitimate theater fairly backed off the boards, along comes_the mammoth R-K-O Produc- | tions, Inc., with the a_.nouncement that it has organiz-1 a subsidiary company for the production of plays in the legiti- m:;utuuh-ur - ut where, ere, are they going o pet the - toektads “Yariety, and to some extent Billboard, both_Teputable und generally reliable chroniclers of the world of amusement, have been telling & hopeless public that out West . they are playing nlays in tents, and there has even been an intimation that the wise producing managers of the great m-&w‘:l- are e fotake o the Aside fror “all that, doesn't this an- nouncement sound. something like dis- loyalty tothe .interests of the fifth industry? Some folks seem never to be satis- fled. If the sun shine, they long for rain; if the rain falls, they hanker for | furthermore, its first play Mason Th the sunshine. Summer is too hat and Winter is too cold, and if it weren't for the Spring and the Fall the dumgasted year might be abolished without loss to anybody. This announcement of Willlam Le Baron, vice president of R-K-O, how- ever, evidently means business; {.r the | Fall new subsidiary company has even been named. = They are g to call it Metropolitan Productions, Litd. d, | Moran an um 7 Hly Monday Tuesday Wednesday Thursday Friday Ambassador 18¢th & Columbla Rd. in i el Mackaill Dorolnvmllullfi Derothymmir'—-im ‘l‘:ourl “The Office Wite.” “The Office Wite.” Will Rogers in b London.” “So This Is London.” o T omeds. Comedy: George_O'Brien in “Lone Star Ranger.” Vitaphone vaTiets. Apollo Jack Oakie in Willlam 3, ; vuln‘one variety. Dflom '7. i Dorothy_Mackaill “Bright Lights." Comedy. fam Powell Shadaw of the La Ralph Graves n “Hell's Island.” Comedy. % Fairbanks, ir. R i : Joe. E. Brown In Speed. Ann Har Joe_E. Brown in e *“Top Speed.” - “Holiday. Vitaphone variety. Belle Bennett in “Recaptured Love." iety. Comedy. Dorothy, Mackaill Warner Baxter n “Bright Lights.” Vitaphone variety. in “Romance of the Rio_Grande.” William Haines in “Way Out West."” Comedy. William_Haines Eric von Stroheim and in : stance Ben: “Way_Out West." Comedy. nett in ““Three Faces East.” Vitaphone variety. Eric von Stroheim an Bennett in Doug. Fairbanks. it in “The Wi A Men. Vitaphone variety. Betty Compson “The Midnight Mystery.” 643 Pa. Ave. S.E. Harold Murray Carolina %ol Fif) dOrsay Uth & N.C. Ave. S.E. “‘Women Everywhere" in “Women Everywhere” J. Harold Murray 5 Alexander Gray an: ‘and Fifj d'Orsay e Bernice Cial “Song of the Flame.” der Gray and A Paice Ciaire Clara Bow in n “True to the Navy.” “Rong ot the Flame." X R n “The Texan. Central enspiracy.” Vitaphone variet variety. 425 9th St. N.W. P Comedy. - Bessie Love in ‘Conspiracy.” Vitaphone variety. omedy. 3 Van and Schenck in “They Learned About Women." Cartoon. Jog E. Brown in Vitaphone variety. Comedy. Belle Bennett in “'Recaptured Love." Vitaphone variety. Comeds. il in B Gircle SR B 2105 Pa. Ave. N.W. “The Bad One. Dolores Del Rio and Edmund Lowe Betty Compson R in “The Bad One." _ “Midnight Mystery." Ann Harding, Mary Astor and Ann Harding. Edward Horton in “Holiday." Sfary Astor and iward Horton in “Holidwy." Chester_Morris. and Leila_Hyams in “The Big House." Grorge Duryea. Sally “Srarr and Robert Edson in “Pardon My Gun. Ann Harding in “Holiday." Cartoon. Colony Ga. Ave. & Farragut Ann Harding in “Holiday.” Cartoon. Jack Oakle in “The Sap From Syracuse.” Vitaphone variety. Jack Oakie in “The Sap From Syracuge.” Vitaphone variety. William Powell n “ghadow of the Law.” Vitaphone variety. Belle Bennett in Janet Gaynor in “Recaptured Love.” Comedy. “Sunny Side Up. ‘Bap Jack Oakie and Raguel Torres and Ginger Roge Nils Asther in 8; “The Sea Bat.” Gomedy. Gary Cooper and June Collyer in Man_ From Wy ming."_ Comedy. St e : Man, From Wyo- ming.” Comedy. Sue Carol and Haines and Grant Withers in “Dancing Sweeties." a; News. Comedy. 1 Rof in g0 This 1 London.” Anacostia. D. C. “So This Is Lon: Conrad Nagel Will Rogers in “One Romantie Night."” in don."” Clara Bow in Clara Bow in “True to the Navy.” “True to the Navy." Gary Cooper n “A_Man Prom Wyoming.” Van and_Schenck in ““They Learned, About Wement: Eric von Stroheim and Constance Bennett in “Three Faces East. Vitaphone variety. 13th & C Sts. N.E. Eric von Stroheim and Constance Joe E, Brown Bennett in in East.” “Top Speed.” ree Faces p Vitaphone variety. Vitaphone variety. Joe E. Brown Van and Schenck in in “They Learned About “Top Speed. ‘Women.” Vitaphone variety. Cartoon. Betty Compson in Ly Galtbersburg, Md. Dark. Nancy Carroll in “Dangerous, Para- 2 Comedy. _Review. Nancy Carroll in “Danserous, Para- o ] Comeds. ~_News. ttertol "Lady of Scandal. Colortone® review. News. Ruth_Chatterton in “Lady of Scandal.” Colortone review. New: Hoot Gibson In “Mounted 8 rial Aesop_Fable. Aesop_Fable. Beery _and w'&:::u{ ‘Morris in “The Big House.” Princess 1119 H St. N.E. Wallace Beery and Chester Morris ; rbara Stanwyck in R 7 “The Big House." Ba “Ladies of Leisure. Jack Mulhall and Ned ‘Sblrkl n “The Fall Guy." Joan Bennett and Kenneth McKenna n “Crazy That Way." Alice Chandler and Robert Ames in “‘Double Crossroads." Richard Dix tn “Shootin’ Straight* Ralph Graves n “Hell's Islan: Vitaphone variety. Savoy Raiph Graves Betty Compson in “The Cazar of Broadway.” Coredy. Lola Lane in “The Girl From Havana. Vitaphone variety. ‘Wm. Collier, sr., in “Harmony at Home.” Comedy. Vitaphone variety. Sue Carz T “The Big Party.” Vitaphone variety. 3030_14th St. N.W. / Dark. Robert Woolsey and Bert Wheeler Rovgrt Woolsey and Bert Wheeler n “The Cuckoo: ““The Cuckoos.” Chester Morris in Chester Morris in “The Big House.” “The Big House." Chlrleg Rogers Tin & n in-Tin-Tin in “ga¥ety in Num- i bers” Richard Arlen in “Border Legion.” Winnie ugrmm and Richard Arlen in Joe Brown A fon.” in i “Hold Eversthing. ‘Winnie Llshllltl' and Joe mro'n Nlnfxy Cll.‘l’l’lli)éx in, MNancy cprroll in, “Hold_Everything.” & ¥ “The Man Hunte: Charles and urray Seorse Slaney i Nancy Carroll in “Devil's “Holiday.” = “Around the Corner.” “Oh, Yeah." Richard Rartheimess “The Dawn Patrol.” Richard B:lfintlmm “The Dawn Patrol.” Richard. Bartheimess in “The Dawn Patrol.” Janet Gaynor and Charles Farrell in igh Socety Blues." Cartoon. Janet Gaynor and Charles Farrell in “High Society Biues." Cartoon. William Powell in Dixie Lee in “For the Defense.” “Cheer Up, and Vitaphone variety. S Come: Vitaphone. Comedy. Joe E. Brown 2D “Top Bpeed. Quebee _ Vitaphone variety. Joe E._Brown “Bright Lights. «Top B 3 e Vitaphone variety. peed.” Vitaphone variety. Dorothy, Mackaill Burnzhy’ Mackaill n Ann Harding in “Hollday.” Cartoon. “Bright Lights.” Vitaphone variety. George O'Brien Ralph_Graves '\ “Lone Star Ranger.” Comedy. n “Hell's Island." Cartoon. W!TH the Theater Legitimate awak- ening and crying joyously to the world of the delights it has in store, with, the “New and Greater ‘Opening’ of the picture pal- aces and with even those who will en- ter the “new and greater Fall” hav- ing special new and greater celebrations of one kind or an- other, it must not be forgotten that Friday of the cur- ] week i - ludly of th; wreb:tnn 5 uth Chatterton, 1Ob even forgetting o ™ the great Garbo, will be the picture star at the Fox Theater for the new week, which, to repeat, begins Friday of this week, in “‘An 's Woman"—another ugly title. And this picture is a Paramount picture, for the Fox management an- nounces that arrangements have been made whereby the Fox will present a se- lection of Paramount pictures during e coming year. Paul Lukas has an important role in this one, but further information is not vouchsafed. It's a way of the press agent sometimes to forget the mountain in trying not to overlook the molehills. Saturday will bring & new week to (.hel !mwm':'helt::&, ln&. ltllfl “Loew’s Open! wi ver y mean. At the Palace the new week’s attrac- tion will present the famous team of Mack. “the two black crows™ in “Anybody’'s War,” while at the Co- . An is to be pro- duced at the eater, Los An- geles, about the first of November; and, still furthermore, if the look g’omhlnc. they are to be ght to lew York and presented on Broadway, right under the mnose of the Erlanger interests, . the Theater Guild, William A Brady et al. ‘There is a sort of postscript, however, that carries a sinister intimation. The idea is to produce as many plays as possible in Los Angeles—to try them out on the humans there, as it were; and, it is added, most of these plays will be made into talking pictures by R-K-O. Ethe Land of the Malay. - LOVE THAT KILLS" latest of the Vagabond Adventure pic- tures produced by the Van Beuren Cor- poration for Pathe release, was filmed in the land of the Malay, a country of rivers and swamps, of rice and rubber and of rare tropical vegetation. ‘Tom Terriss, the vmnd director, ides his audiences through a queer ttle village with all the houses built on stilts because of the torrential rains and the enormous rise and fall of their rivers. A touch of romance and humor 1s revealed in the picturization of a na- tive Romeo and Juliet. Instead of toss- ing a rose to her lover, as Juliet might have done, the native lady throws down l‘o scented e as the token of her ve. Many incidents of human interest are brought to the screen and vividly de- scribed by the Vagabond director. One of the most interesting is the gathering of sap from the rubber trees. Then are shown the giant fig trees, which start as vines, originally attaching themselves to the top of a tree and growing down instead of up, becoming stronger, dead- lier, until their giant roots become the bark itself, a living tomb for the dead tree inside. Roots such as these con- tinually blot out buildings that happen to be in their path. Entering_one of these old buildings with Mr. Terriss and drawing back in the dark, the spectator hears the patter of feet and the approach of natives, and then through a tiny window sees a great Buddha and before it a native girl of high caste kneeling in prayer. Then follows a romance seldom heard lumbia, the attraction—and it is a big one—will present the famous Marx Brothers in “Animal Orackers” de- scribed as “the funniest picture of their career.” Ernst Lubitsch's big new production, “Monte Cark which e eRtertaining the patrons of R-K-O Keith's the cur- rent week, is more than likely tc linger Jonger, but the management has not yet announced the fact, while from the Warner Theaters, the Metropolitan and the Earle, not as to the future has been volun Unto the Fourth Generation. 'HE recent and considerably publi- cized news that Ethel Barrymore's daughter, Ethel Colt by name, is to ap- r with her mother in the latter's version of “Scarlet Sister Mary,” is of particular interest to Washingtonians, since this town has been honored more than most others as far as glimpses of the lovely Ethel is concerned, and for excellent reasons. One hears that the daughter has been harboring desires to don the grease- of or seen by any white man, bringing the audience face to face with a tragedy. Something of ‘Just Imagine.’ INPOR.MATION regarding the second De Sylva, Brown afd Henderson Fox Movietone musical comedy, “Just Imagine,” directed by David Butler, which has been closely guarded, is gradually being revealed. The veil of secrecy has been dropped far enough to reveal that the picture has its setting in 1980, and yet is strictly modernistic in theme and background. A feature of the production will be the producers’ conception of New York City 50 years hence, with its towering skyscrapers, aerial traffic and other de- velopments coming, perhaps, in the next century. El Brendel has the leading role, while Maureen O'Sullivan, John Garrick, Frank Albertson and Marjorie White have prominent parts in the cast. CTALKING U] ROMANCE ee and Hear Yus never Itabefiqotvn ‘R’a:m FALL int for some time, but that her mother g:.u not looked upon these flurries with too kindly an eye. Since, however, as they say, greatness will out, it is prob- ably true that with such ancestry as lurks behind Miss Colt she should be a great asset to the stage, and that her mother in time will become quite recon- ciled to having more fame in the family. It is possible—really more than likely —that Washington will have a peep at “Scarlet Sister Mary” some time in the Winter. When it does, it will have its first change to see a Barrymore in the role of a Negro, since it is far from a secret to say that as Seraphine Miss Theater Openings National's Opening Play. L!NOEE ULRIC, long absent from the legitimate stage, will make her re- appearance Monday, September 22, at the National Theater, as the star of “Pagan Lady,” a drama by Willim Du Bois, a New York newspaper man. The play comes here for a week’s engage- 1so | ment prior to its New York opening. Miss Ulric, lustrous star of “Kiki" “Lulu Belle,” “Mima” and numerous other Belasco successes, has been en- gaged In picture work on the West Coast for the past 18 months. In “Pagan Lady” the author, it is said, has pro- vided her with a powerful role, the equal in strength and importance of any she has had under the Belasco banner. John D. Williams is the director of the new piece, and the producers are Lewis E. Gensler and Morris Green, who are also the sponsors of the new Joe Cook musicale, “Fine and Dandy,” which opens in New York soon. Fred Stone Coming. CHARLE DILLINGHAM sends the important announcement that the new musical extravaganza “Ripples,” with the one and only Fred Stone, will open at the National Theater, Monday evening, September 29. This will mark Fred Stone's first ap- pearance in Washington since his air- plane accident. Dorothy Stone also comes with “Ripples,” as well as Fred's daughter, Paula Stone, who is making her s debut in this tion. ‘The list of big names does not stop there, but includes Andrew Tombes, Billy Taylor, Maude Eburne, Charles Collins, Peggy Bancroft, Willlam Sell- ery, Cynthia Foley, Charles Mast, Willlam Kerschell, Paul Paulus, a troupe of midgets, John Tiller's sensa- tional dancing girls, and many others, with an ensemble of beautiful girls such as Dillingham knows how to provide. “Ripples” was written by Willlam Annmnyh Mcolgl?'ldWh:lum #mhe stage the gfel “Wh 3 “Show Girl,” “The Three Musketeers,” and “Rosalle.” Mr. McGuire also staged the production. The music and lyrics are by Oscar Levant, Albert Sir- may, Irving Caesar and Graham John. William Holbrook staged the dances and ensembles. “Braken Dishes” Ahsad: ONALD MEEK, one of the best known character actors on the stage, will continue to head the cast of “Broken Dishes” when Martin Flavin's successful comedy comes to the Shtibert- Belasco Theater for the week beginning Monday evening, September 2. The play is one of last season’s hits. It had a run of 28 weeks on Broadway and 9 weeks in Boston. In the role of a hfrassed husband who finally turns against his tyrannical wife after years of married life, Mr. Meek won warm praise from the New York critics, who agreed that this was the crowning achievement of & career that included splendid performances in such plays as_“The Potters,” “Mr. Moneypenny,” “Six Cylinder Love” and others. In “Broken Dishes” Martin Flavin Barrymore (senior) will be as black as black can be. has departed from his usual serious style and he has written a comedy whose R-K-O KEITH'S NOW PLAYING . infimate . . oA as bhe woman of many Loves in— ~with_ LEWIS STONE- GAVIN GORDON qzc/mgcne re zng o Teiiy as akiss! “Merriment is like the bubbles in champagne—Lubitsch at his best! One of the most satisfy- ing of audible pictures!”—New York Times. C#s th Ak “Utterly delightful—much su- period to ‘The Love Parade’!” —New York Journal. ERNST LUBITSCH'S &, JEANETTE Zasu Pitts F STREET 3 OB ENING— MONTE CARLO JACK BUCHANAN MacDONALD Claude Allister PARAMOUNT’S intriguing Riviera romance of lovely ladies, bold barons and seductive boudoirs. sole purpose is to entertain. Cyrus Bumpsted, the leading character, has accepted for years his wife’s judgment that he was a miserable worm, and is completely under her thumb. But when his wife forbids their daughter to marry the boy she loves Bumpsted's manhood asserts itself. Marion Gering, a protege of Meyer- hold, the famous Russian producer, pro- duced and staged “Brokem Dishes.” Mrs. Fiske's Plans. THI Erlanger Co. and George C. Tyler have announced novel plans for the forthcoming tour of Mrs. Fiske,) which begins at Princeton, N. J. October 1, and will include Washington later on. Prospective patrons in the cities to be visited are to have a say as to the plays that will be presented, their ballots being invited, but restricted to seven plays that will constitute her npermm These are “Ladies of the " the comedy which Fred Bal wrote for her last year; Lan Mitchell's dramatization of Fair,” “Miss Nelly of N'Orlean: y Lawrence Eyre; “Erstwhile Susan,” by Marian De Forest and Mrs. Helen R. Martin; “Mrs. Bumpstead Leigh,” by Harry James Smith; “Hay Fever,” by Noel Coward, and Ibsen's “Ghosts.” the repertory provide a maximum g:mui of a mum of time in the road citles visited, 80 that, if desired, two instead of one week may be devoted to one week stands and two or three, or even the SO ety v e emated. Nothing like the proposed tour is said to have been attempted’ since Mans- field’s days, for scenery for the entire repertory will be carried by the com- pany, and, it is added, each of the lays will be a highly specialized offer- There is little if any doubt that America’s foremost actress, with such an attractive offering, will receive the cordial and affectionate welcome of her Amtrican public, *Kuddling Kuties” Next. N!XT week's attraction at the Gayety ‘Theater will be Max Fieids and his “Kuddling Kutties,” a show that has been attracting crowds, even this early in the season. In addition to Fields, there is also Rudith Williams, Anna , A. R. Golden, jr.; Sam Smith, Al Schneider, Alma Montague, Gladys Joyce, as well as an attractive, talented and prettily costumed chorus, which will be seen in many spectacular scenes. Special vaudeville acts will be mingled with (ut_und fun provoking burlesque. Morris to Be Sheik. mem MORRIS, following his per- formances in _“Alibl,” “The DI vorsee” and “The Big House,” is finish ing “The Bat Whispers,” with his di- rector-discoverer, Roland West. West later may star him in a talking pic- turization of “The Sheik,” the film that is more than not linked with the mem- ory of Rudolph Valentino. West 15 considering for Morris both “The Sheik” and “The Son of the Sheik,” the latter a United Artists’ pic- ture, in which Valentino played the old Reac}ung for the Children. ’I'HE motion picture industry is at present, mncer‘mngl itself with an attempt to increase the patronage of children at the theaters. Various plans and ideas are being formulated to bring this about. But it is the producer of pictures upon whom the burden for the success or faljure of the plan will fall. Pictures must be made that will have a direct appeal to the younger generation, with- out sacrificing any of the elements that will make them of interest to grown- ups as well, Larry Darmour, producer of RKO comedies, insists that pictures appeal- ing to the younger element are a ne- cessity for the exhibitor. He points to the newspaper “funnies” sheet as an example of a business builder through its appeal to children. Eliminate the “funnies” and an immediate drop in circulation would occur, he says. Where the “funnies” mean circulation, the motion pieture appealing to children means attendance at the theater. The Mickey (himself) McGuire short subjects are comedies that serve the dual purpose of being entertaining to the young and old. Evidence of their value is attested by exhibitors who are d | playing these “kid” comedies. , They are claimed to be a good example of how to produce pictures that will have an appeal to all groups. Discovered “Black Bottom." Tflio?t:n who :lwuvmdh the “Black m” and who ht the e vaud Al or s with 's “Scandals,” in St. Louis through a Negro boy, who was his dresser, “Vic, my dresser, was quite a boy to step around nights,” Patricola says. One day he showed me a few steps he had picked up at a party with friends. I learned them and kept them in mind, Later, in New York, I showed gl;e:;l g'tor.e Wmhne. I had no idea ng them on the stage and simj explained them to White because n‘:’el'; were so unique. A few months later White called me to his office and said, 1 want to show you the dance you'll do in our next luction.” What he showed me was the ‘Black Bottom.” He had remembered the steps and made them into a complete routine.” Patricola introduced the “Charles- ton” in 1925 in White “Scandals,” and the “Black Bottom” the following sea- son. Comedian, eccentric dancer and mandolin player, he went to Hollywood !.nsagd;%ul Enerfla;; ml‘run‘:ltyy““ in the als” and has already appears five pictures. ot “The Beggars' Open." J’OHN GAY'S wellnigh immortal comedy, “The Beggars' Opera,” is to be made into a film under the joint auspices of Warner Brothers and Tobis, German film company. The picture will be recorded in German and will be known as “Dreigroschenoper,” or, for those who have lost their Danish dictionaries, “The Groschen Opera.” This screen adaptation of the lively romance of the daughter of a prison warden and a highwayman is said to be going to follow closely the satiric spirit of the original. G. W, Pabst will be at man and his son, and, incidentally, was the star’s final film. the directorial helm and the picture will be given birth in Germany. NOW PLAYING ON THE SCREEN of Metro-GolduwynMeyer Pictures Reackes the e picture enlerta CALL OF THEFLESH' DOROTHY JORDON RENEE ADOREE «NANCE ONEIL ERNEST TORRENCE Vear NOWIRRO s the contina snper who captivates the heart of & convent girl with s veice. . . ON THE STAGE HOME AGAIN/ WESLEY EDDY {na Gapitol Theatre, N xfiema“ '"RUBES < BUDES with : cgel(er cast entertainersin %;tic revels m;t s O e MC. guing a rube characteriza- BTN 5. oo v~ DOORS OPEN SUNDAYV: AMUSEMENTS. Louise Has Hopes. WHO doesn't know Louise Fazenda? Or at least who has not heard of her if he hasn't laughed his head off at her comedy? One would suppose that she had nothing further to wish for. But sh has. Nancy Smith, who is Louise’ special confidante and liaison promoter with the general public, says Louise has one great hope. Guess what it is? “Hollywood,” says Nancy, “is favor- able to fortune tellers. Indeed, all the professional people go to them. Well, Louise went to consult one, for every- body felt that mysterious urge to try to peer into the future and discover what is going to happen. And who better than the fortune teller could possibly help such a desire? And so, whether it was right or wrong, wise or foolish, Louise marched herself one day —or maybe she didn't march, but sim- ply rolled off in her limousine—to a | fortune teller. “Before that Louise had been reason- ably happy. in that visit to make Louise want to give a grand finale to her movie career. But,_something happened | s ent o And Nancy doesn't say any more on And how better could she do it, so now thinks, than to play a part will give her a series of tions, first, as a girl—and that m reasonable—then as her mother, w! to the general fondness for mothers, I8 nov ;mreutig.blm -: nally, the part f an old lady, grandmother, or somebody else’s grands mother, or maiden auntie, or sich like? “Furthermore, Louise encourages the fond hope that by some hook or crook of fate she is going to have her realized. The fortune teller lady her—at least this much is she has every reason to look forward ta the year 1940 as the most successful of her life, because her , the wonderful grappling tongs of the fus ture, clearly indicates the fact. 'And now Louise says she hopes it's true; that she would be willing to nv_! up everything for this one chance. would gladly retire.’ she is quoted as saying, 4f 1 could have one role, and that of my own choosing.’ " the subject. Story by Samoan Chief. TOLEAP’OA TUSITALA, a chief of the Samoans, is the author of an ad- venture story of t>3 South Sea Islands now being filmed as a talking picture. To the world of literature, Toleafoa Tusitala is John Russel, author of 500 short stories which have been published {n national magazines and a new book new receiving the attention of ecritics and the public. To the natives with whom he has sojourned and about whom he has written, he is known by his Samoan fitle. Russel is an American, born in Dav- enport, Jowa. He was graduated from Northwestern University and then began extensive travels which have taken him through the South Sea Islands, the Orient, Asia and South America. The tropical islands of the South Seas provided him witi® the material for many of his best known stories, among them, “The Lost God.” It is this story upon which Paramount's film romance, “The Sea God,” is . George Ab= bott, who is directing the production, wrote the screen play. Richard Arlen, Fay Wray and Eugene Pallette head the cast. During his early travels, Russel acted as special correspondent for a New York newspaper. In recent years he has de~ voted all of his time to fiction. It was in 1920 that he was given the name of Toleafoa Tusitala when the Samoans adopted him as a chief. ‘Rob= ert Louis Stevenson is one of the few other writers to have received such an honor. Music Shows movie trade publications are be- ginning to discuss the popularity of music shows, which, says the Exhibi- tors-Herald World, “is waning because the public is: surfeited with the cheap brand of music that has been foisted upon it in that form.” ‘The cat-purr and the cow-moo songs, like many of the others possessing a degree of latter-day popularity, have in the past been knockouts in the night clubs and on the dance programs. Beautiful feminine voices and tenors with tonsilitis have crooned them until to the lover of real music they have the earth. The screen theme songs, some of them beautiful, have been largely in- spired by this class of melody, if, in- deed, it can be called melody, until Rudy Vallee with the present genera- tion ranks higher than Beethoven, Schumann, Schubert or any other clas- sic song producer of the hallowed past. One needs only to spend an hour or so with the radio to get the full grist of things that are rated as popular songs of the day. And latterly it has become '-hem!luh&gn uo‘:;( s ts, of y &) mm UZG beautiful ballads that were so loved in the years gone by. “Annie Laurie,” for instance, came over a national broadcasting chain only a few evenings ago with its melody utterly obliterated by the hectic varia- tions of a would-be tenor and braying of an evidently fat and wheezy basso. What wonder is ",_..n"hft, the musical show .is losing its cl And there is another, a crying evil, that of the endless repetition of songs and musical selections by the - tras as well as by the singers, until the music-lover is tempted to wish that dead silence might fall upon the earth and linger there until the era of a cu't;‘wufl: :l’l sweet sounds can return ithou! loy. It can easily be comprehended why these croon songs and tom-tom or- chestra tunes eould be popular in a night club with service. But when they are uttered from a screen spectacle that otherwise might be most attractive, or furnish the ideas to the Bowery composer who provides the 1843 Wisconsin Ave. DUMBARTON JACK| DA‘xIl ;adollog{'gfiv!l." OOIII“DY, CAROLINA 7ir6i5 MSnR¥ i T TAKOMA %, Fintne Trouies RICHARD ARLEN in “BORDER LE- PRINCESS e sha™ Northeast Home ot ':-_mi- Electrie WALLACE BEERY and OHESTER MOR- RIS in_"THE BIG HOUSE." STANTON »03: "8 Buimiment Continuous from 2 P.M. COLLEEN MOORE in “FOOTLIGHTS AND_FOOLS. 18th 8t. "AMBASSADOR &°<%: ¥ TODAY AND TOMORROW—DORO- THY LEWIS STONE IN “THE OFFICE WIFE." Warner Bros.’ 624 B St. N.E. TODAY AND TOMORROW-JACK OAKIE 1IN “THE SAP FROM Conn. Ave. and MeKinley St., D. C. TODAY AND TOMORROW-JOE E. BRO' IN_ “TOP SPEED.” WNE ‘Warner Bros.’ AVENDE GRAND %% TODAY AND TOMORROW— WILLIAM HAINES IN “WAY OUT Warner Bros. CENTRAL ™® 8 Bet. D ana & TODAY AND TOMORROW--BESSIE LOVE IN “CONSPIRACY." Warner Bros.” 'OLONY O Ave & Farrarut st TOMORROW—ANN “HOLIDAY." 1280 C St. N.E. AND _ TOMORROW—ERIC CON. Y STROHEIM 7 NCE BENNETT IN “THREE "v’éyn “j4th & Col. R4 N.W. TODAY AND TOMORROW—_RALPH GRAVES AND JACK HOLT IN “HELL'S_ISLAND.” TIVOLI '** & fam B AW, AND TOMORROW—RICH- TOXD FARTHELMESS IN - THE DAWN PATROL.” Bros.” VORK Go- Ave. & Quebes 8t. N.w. ND TOMORROW_JOE E. TOROWHE in TOP SPEED." K _mear 9th “THE BIG EERY. XANDRIA, VA. ‘Tomorrow and Tuesday ONS,” EDMUND CAMEQ romorion” id Tussday j 'TARAMOUNT ON PARADE." STAR become an abomination on the face of & the radio quar-| | ‘ARcADE—c; Not Popular. other tunes, they have lost their. lure. It might not be a bad idea for the makerf of radlo programs to get some of this under his hat for ct . P s R Mary Pickford and “Kiki. MARY PICKFORD'S starring picture for United Artists, based on the stage play “Kiki,” is in the process of being adapted for the screen by Sam Taylor, producer-director. Taylor 1§ aided in the comedy construction by John Gray. Taylor directed “The of the Shrew,” co-starring Miss Pickford and Douglas Fairbanks. “Kiki” was an international stage success, and also was one :l§n Normia the Joseph M. Schi Certain changes calcu~ title role is, that of the street | who aspires to be an actress | | | | ARNER BROS | ARL SCIENTIFICALLY CODLED BY REFRIGERATION Now, Uhat soosenn 007 'H:fll‘l’g(l‘ | Acture | A Warrer Bros. (*) Indicates Where Film Is Shown Today. o District of Columbia EARLE—13th st. n.w. *METROPOLITAN—F st. n.w. _ AMBASSADOR—18th and Col. rd. n.w, *APOLLO—624 H st. n.e. *AVALON—Conn. ave. and McKinley. AVENUE GRAND—645 Pa. ave. 8. CENTRAL—9th st. : COLONY—Georgia ave. and uurnsls—-uc Sth st. n.w, i i *SYLVAN—104 Rhode Island sve. n.w, TAKOMA—4th and Butternut sts. TIVOLI—14th and Park rd. n.w. YORK—Georgia ave. and Quebec n.w, Maryland and Virginia MARYLAND-— Hagerstown, Md. ARCADE—Hyattsville, Md. ASHTON—Ciarendon, Vs. AUDITORIUM—Onancock, Va. BERKELEY—Berkeley Springs, W, Va CAPITAL—Cumberland, Md. CAPITOL—Winchester, Va. Ma. MARYLAND-—Kitamiller, Md. MASONIC—Clifton Forge, Va. MELVILLE~-S; Ma.