Evening Star Newspaper, November 18, 1930, Page 36

BY MOLLIE MERRICK. NEW YORK, November 18 (N.AN.A). sons of the movies are re- tutning to the home roof tree—the legitimate theater. They are coming back quietly to Broadway, for audiences the future are people fo be convinced gt & good performance, not groups to dazzled by names. The prodigals ve to prove themselves won.hY of re any fatted calves will be the lanes where lights burn tly and plays are lasting & fort- many eases. h Schildkraut will return “The Affairs of Anatol.” ies many years of movie- of them brilliantly success- El | parts, none of which for , any particular T, ut feels a return to the sf T i : £ A58y Colleen Moore in the Middle West is touring with a play written by Barney Glazer and named “Foam.” I am told that tryouts of this play proved con- clusively that the Colleen of films nec s a lot of coaching in order to sell her stage personality in New York. It is coaching the little lady doesn’t take kindly to, according to rumors. That being the case, Colleen would do better in a talkie version of the play, could some producer in movieland be made to sce it that way, than she will in_her present setting. But when movie magnates shy off from established stars it is fairly good evidence that those- rsons have had their day, unless they are able to pull most recent of them a monoton- | themselves together and make a come- back in some distinctive and interesting fashion. This takes work—Ilots of hard work—and that is one thing most of tage | our movie maids who have come up through silent years cannot assimilate. is | Th» patient grind of the stage prepares its followers for disappointments and , | hardens them to mercfle— rehearsdls. Another thing—Colleen Moore hasn’t with the becoming .8 ancient as the wagon and the hoop skirt. Muni Weisenfreund came to Holly- wood and became Paul Muni. He worked for a year in the studios, and but little worth while came out of it. Paul Muni is magnificent material, but he was never cast well or felicitously set in any of his Hollywood appear- ances. Back in the theater, he keeps the lven him by Holl . That r burean of the Fox studio ‘which espians for popular: :ggmml}ed out this very agree- and highly negotiable name. One hasn't | must admit the original has its draw- ress for | backs. “This One Man” is a play with m. with have not been able entirely too ambitious an idea for its dramatist. Even the very sincere and truly artistic work of Muni as Saul can- not make the evening into anything but inieresting work in a Jame vehicle. g > loupe. th abrasive. fish. woman to guard young one i Teceiver, , Intoxicating Mexican drink. | SEAPRERSRERRuBELY g3 i B ——— ANSWER TO YESTERDAY'S PUZZLE $8F PEOTSBEALLSESREIEEN! . Waterfall pool: prov. . Income. . Titled person. . Name of ancient Persla. . Habitual. . Circular plece. 61. Tether. . Malarial chill. . To glut. Thick or deep. 5. Spoke. Down. . Intertwine. . Spirit, dash. . Dispatch. . Tiresome. f g‘;gchl E . Bone of the body. . Flower patch. . Slow gastropod. . Train of servants. . To le in bed. . Clrcular mass. . Terminals, . At all times. . Pashion . Tower of mosque. . Trunks. . Punctuation mark. Fat . Mist, . Come after. Spanish ladies. Person holding a len. Soft mud. Machine shop implement. Exterminates. TR SIWLY W TR BUT IT SURE \S @Gee, THE NEWSPRPERS HERE IN NEW ORLEANS ARE PLAYING US UP PRETTY ! LOOK AT THESE HEADUNES ON THE SPORT PRGE: “WINOY RILEY BRINGS HIS FAMOUS Jockey To RIDE AT JeFFERSON PARK TRACK ! BUMP HUDSOK TOOK A NOTE HOME TO"BIG FIST"RILEYS MOTHER AN ‘BIG FIST * CAUGHT BUMP LAS NIGHT! Free Dental Work. REPORTER AND CAMERA MAN THEY HAVE STATIGNED_IN FRONT OF THE Hetew To SNAP US ’ WELL,WHAT Do You -THINK L SHOULD USE P MTEEN GAUGE OUuGHT 10 CE AGouT WAL, HE'S €oT 0.S! NUH FIGURE BRANDED ON T STIFFEN § UP §0 = AcT LIKE Y'OON'T KNOW YOU'RE | BEING TRKEN. No | DONT Like TaE FEEL OF THE “SIXTEEN", GIVE S WHAT DI1D ‘8@ FIST” DO WHEN HE CAUGHTCHA LAS' NIGHT! NOT. MUCH! AN BESIDES 1 WAS GONNA HAVE THAY FRONT TOOTH PULLED OUT ANY HOW BRAND MEANS “INSAFE"