Evening Star Newspaper, June 28, 1931, Page 49

THE SUNDAY EARLE—*“Chances.” OUGLAS FAIRBANKS, Jr, in his first starring picture, “Chances,” a PFirst National- Vitaphone production, is the screen attraction this week at ‘Warner's Earle Theater, where four vaudeville acts, headed by Jack Mc- Lallen and Sarah, are also on the bill. “Chances,” adapted from the novel of A, Hamilton Gibbs, concerns a young devil - may- care youth who falls in love with Qs brother’s sweet- heart. Rather than ®break kis brother's heart he decides to forget the girl, but circumstances comn- pel him to reveal his relationship. An intense and power- ful situation is said to bring about a gripping_emotional climax. Doug is credited with a fine characterization in Dous. Fairbanks, Jr. this his first pic- ture as a star. He is supported by Rose Hobart, Anthony Bushell and Holmes Herbert. Jack McLallen, a vaudeville comedian, presents, with the assistance of Sarah (Miss Doris Ellington), a “laff-a-min- ute” skit, entitled “What's It Al About?” Eleven whirlwind dazzlers, a novel offering of the Liazeed-Demnati Troupe; Muriel Kays, assisted by Jack Lenny, Clay Stearns and Edna Dean, a dance’ revue, and King and Burnett, “Two Bronze Melbas,” add to the fun making. - Maxine Doyle, mistress of ceremonies; a musical prelude by the Earle Orchestra, selected short subjects and the Graham McNamee Newsreel | Cable of “Secret Six” fame are in the cast that includes Marjorie Rambeau, Cliff Edwards and Guy Kibbee. On the Palace stage, Fred Waring's Pennsylvanians present an _entirely new stage offering with many novel- ties and featured acts that include Eve- !lx:n x};{l:l‘lllr. the Three Girl Friends and ‘onita. METROPOLITAN—"Stepping Out.” FIV)!.' funmakers are to be seen in t>pping Out,” the Metro-Goldwyn- Mayer comedy of fast-stepping hus- bands and their equally speedy wives, FEK OF VIERE & STAR, WASHINGTOY, D, C. JUNE 28, 1931—PART FOUR. Wednesday Thursday Friday Saturday Ambassador 18th & Columbia Rd. ! ., n “Chances.” Thomas Meighan and ‘Dorothy Jordan 1n Thomas Meighan and n **Young Sinners. Tt 8 Dorothy “Young 8 Marlene Deitrich in “‘Dishonored.” Jmcnud' Dix and Vitaphone short subject. ackie Cooper in “Young Donovan's Kid.”_Serial. Com._ Winnie Lightner In “Gold Dust Gertie.” Vitaphone short subject. Apollo A 1624 B St. N.E. Winnie Lightner in "Gold Dust Gertie.” Vitaphone short subject. ~ Constance Benneit in ““Born_to Love.” Bobby Jones seri “How T Play Golf" Constance Bennett in "Born_to Love.” Bobby Jones “How I Plav Gol Thomas Meighan and Dorothy Jorden in ““Youne Sinners Thomas Meighan and Richa: Dorothy Jordan Rackle ‘caomer’ I T ~¥ouhe Bonovan “Young Sinners.” __ Kid." Ser. Sh't sub. John Boles and Tools, Wilson 'in ‘Seed Short_subject. Avalen » Harlowe and Tlace Beery “The Secret S\ Short_subject. Loretta Young and Ricardo Cortez in “Big Business Girl " ibiect. Ramon, Novarro in ‘Daybre med: sublect. Wallace Beery and Jean Harlowe n “The Secret Six." John Boles and Jean Harlowe Lols Wilson in “Beed." in “The Secret 8ix." Richard Barthelmess which is the screen attraction at War-| ner's Metropolitan Theater. Charlotte Greenwood, Lelia Hyams, Reginald Den- ny, Lilllan Bond and Ciiff Edwards are the principal funsters, “Stepping Out” is the story of two ' 11t & N.C. Ave.. ichard Barthelmess “Pinzer Polnts." Spencer Tracy Margierite Gho R TQek aih n A e Mareuerite Spencer Tracy and Ghyrenit e nick Millions.” Vitaphone short Fomeds. sublect. _Door = Montzomers in Rob Dipmates. Tallulah Bankherd | “Tarnished Lady.” Jones rolf series—4. a Lois, Wilson “in Short_sublect. r fblect Mary Astor and Robert Ames in “Behind Ofce Doors.” Morteorery in “:Shipmetes. Vitaphone short Sublect. William Powell n Ladies' May encer Tracy in vlinder Love.” 1 rial, Short_sublect. | @ lliam (Bil) Boyd ‘Hot Heiress.” John Barrymo *'Svengali Vitaphone short sub ofl millionaires who try to produce mo- | tion pictures, fall into the hands of “gold diggers” and end up with no end of trouble with their jealous wives. The scenes are laid in Hollywood and Agua Caliente. Adapted to the screen by Elmer Harris, author of the original play, the picture is said to lose none of the action and comedy which it had on | the stage. Others in the cast are Rich- ard Tucker, Harry Stubbs, Kane Rich- mond and Wilson' Benge. A n:w Vitaphone short subject en- titled “The Milky Way,” an episode of the “Adventures in Africa” series titled “Dangerous Trails” and the Graham McNamee newsreel also are shown. R-K-O KEITH'S—"Up for Murder.” EW AYRES as the star and Gene- vieve Tobin as his featured support are seen in Universal's romance drama of the newspaper world, “Up for Mur- cer, Keith's Theater. Frankly melodramatic, but with its tragedy and stark tenseness relieved by complete the entertainment. FOX—"The Black Camel.” HE BLACK CAMEL,” claimed to be the best mystery thriller of | the season—no: even excepting the highly popular “Charli> Chan Carrie: On"—throws its sinister shadow across the Fox screen this week, with the bland Warner Oland again investing the role of Charlie Chan with convic- tion and Oriental savoir faire. “The Black Camel” relates the fur- | their experiences of the portly Chinese | detective who calmly, unhurriedly takes | up mysteries too deep for his white | brethren to solve and proceeds to track | the culprits to their lairs. Here w find | Charlie working in a maze of conflict- | ing evidence and false clues. and de spite his appearance of unruffled calm, managing to inject more speed and dramatic action into the yarn than are usually to be found in mystery pictures. | Many genuine glimpses of Hawaii's ro- | mantic shores are used in the scenic | background, so the picture combines beauty with dramatic excitement. | In the cast besid®s Oland are such | capable_players as Bela Lugosi, Sally Eilers, Dorothy Revier, Victor Varconi and C. Henry Gordon. | On the stag> this week may be seen and heard Gene Morgan, known collo- quially as “the King of Mirth”; Fawn and Jarson, striking adagio dancers; Russell and Johnson and the Beauties | from the West Coast. “Top o the World” is the title of the new Fanchon- Marco “idea.” | Bob Hamilton, feature organist, in a musico-pictorial numbar and Al Mitch- ell directing the Music Masters, with the Fox Movictone News and some short | subjects for those who go early com- plete the entertainment. PALACE—Laughing Sinners.” JO N CRAWFORD'S latest piclure,‘ aughing Sinners,” is the current | screen feature at Loew's Palace The- ater. “Laughing Sinners” was adapted from the stage sensation, “Torch Song,” and has been called the best of the Crawford pictures to date. Neil Ham- ilton, who scored with Norma Shearer in ‘“Strangers May Kiss,” and Clark €@ a love theme and a vein of comedy, “Up | for Murder” is sald to oier real cnter- | tainment. It has two distinct appeals to local interest. The scenes are laid in Wash- ington, and the story was written and irected by Monta Bell, formerly of the local newspaper fratornity. Its story centers about a young reporter very much in love with the soclety editor, who discovers that she probably doesn't deserve it. A series of dramatic epi- sod:s are said to follow one the other with gripping rapidity. In this, his second starring adventure, young Avres starts his third year in pic- tures. work in “All Quiet on the Western Front,” as Robert Marshall, cub re- porte, may be expected to have ample ! opportunity to display unusual ability. | | Dorothy Peterson and Purnell Pratt.are in the supporting cast. The following attractions round out the entertainment: R-K-O Pathe News, Mickey's Rebcllion,” a Coiumbia “Screen Snapshots,” an R-K-O Pathe Aesop’s Fable, “Fisherman’s Luck,” and a Grantland Rice Sportlight, “Blue Grass Kings.” COLUMBIA—"The Lawyer's Secret.” PARAMOUNT‘S five-star production, ‘The Lawyer's Secret,” featuring Clive Brook, Buddy Rogers, Richard Ar- len, Fay Wray and Jean Arthur, con- tinues this wek at Loew's Columbia Theater. It has been acclaimed by critics as a production that gives its large, capable cast ample opportunity for each member to display his or her ability. - The story concerns a sailor on leave, who sells his pistol for money to re- turn to his ship. The gun is subse- quently used in a murder and the sailor arrested and condemned to death. Clive Brook, as a lawyer, knows who committed the crime, but ac-ording to his ethics cannot expose the guilty man. The fact that he is engeged to marry the man's sister makes his po- sition even more difficult. The climax is said to contain many surprises and thrills. A selected group of short subjects in- cludes an Our Gang comedy, titled “Fly My Kite.” The Luzlts in Hoilywood BY MOLLIE MERRICK. OLLYWOOD, Calif,, June 27.— The complete revolution wrought in the motion picture profes- | sion by talkies is best illustrated | by Alfred Lunt and Lynn| Fontanne. Three years ago they just wouldn't be here. ~ Although Alfred Lunt made a movie and was very well liked, in- | deed, by this writer, even if he didn't | sat the cinematic world afire and the fans didn’t clamor for more of him. Now, lured here by the talking picture —and of course, the prices motion pic- ture magnates are able to pay—the Lunts, ready and eager to go to work, | are a paradox in the motion picture | colony. | Alfred Lunt, tall, broad shouldered, | heavier than the average movie star | and far.larger, a fine face with in- telligent eyes and broad brow and a sens> of humor along with a faint tinge | of bitterness. 1 Lynn Fontanne a little over medium height, classically regular as to fe ture, but minus all the sensuous pre tiness we have come to look for on the screen; chic to the point of severity | and a bit inscrutable as to smile. A | lovely suave woman with a deep de- | licious voice and great polse—tremen- | dous poise. They are—for the benefit of the few | who do mot happen to know it—the famous pair who have made the New | Yeork Theater Guild the most successful organization of its type in the world. | They are the husband and wife who star together, vacation together and have a contract which promises they shall not be separated. They are the divinely happy couple of the theatrical profession—the perfect companions, the ideal lovers. And they like Hollywood | fine. ¢FJONESTLY.” said Lunt when baldly asked the time-honored question, “We had heard Hollywood and the talkies either praised extrava- rantly or damned to the eyebrows fo that we didn't know what to believe. Now that we are out here we are be- | ginning to suspect that possibly our | friends who utiered statements of cither exaggerated optimism or exag- gerated pessimism, suid the things they did with an eye to their appearance in headlines.” “ * * * And we probably | won't get even a paragraph, because we can't find a thing tensational to say about either the talkies or Hollywood,” broke in the famous other half of this team, with just a hint of a drawl. “Seriously”—Lunt took over the con- versation again, “There is just one thing that bas startled us out here— and that is the amazingly hard work that goes into these talkies. I'll admit I haven’t liked all of the talkies I have seen, but both Lynn and I have always had great faith in them, and a great desire to see if we could make a go of this new quirk of the drama. Now, | after having been in Hollywood, after having seen the seriousness everybody here puts into their work, I am labeling all of the talk about ‘scatter-brained Hollywood’ s & lot of bunk.” Lynn Fontanne is amazed at the at- tention to detail—she made & mistake the first day and used No. 3 grease paint instead of No. 4—or something of the sort—and the cameraman nearly passed out. ALFRED LUNT and Lyhn Fontanne have no movie plans beyond “The Guardsman.” “When we have finished with ‘The Guardsman’ we will go back to New York and start on a new play. If our movie is liked by the public well do some more. If no . . . well, Lunt and Fontanne will at least have satis- fied the'r insatiable curiosity about that old_devil microphone.” This famous are keenly aware of the fact that an entirely new tech- nique awaits them. This is more than most stage celebrities assimilate early in the game. Already Lunt and Fon- tanne are modifying their tones to the exaggerated sensitivity of the mike. They like the life of Hollywood—home lite with luxuries not procurable in great metropolitan _cities. Swimming pools with far-reaching lawns beyond, bright umbrellas like mushrooms poised around and the extravagance of space wihin doors. A home in Beverly had already been procured for them and they came straight to it from the train. A staff of servants had been installed by Larry Farrell, their secretary. They found the dinner delicious, the maid servant capable and attractive; they inspected their new domain and retired in a glow of happiness. This gelatin colony seemed to be perfect. At 4 in the morning the telephone rang Alfred Lunt took down the re- ceiver and carried a s'.epy “hello!” “Hello,” came the cnswer, “where's So-and-So?" " sald Lunt, “we've demanded the voice feily. “I don't think that's any of your business,” said Lunt, somewhat plqued. “The hell it ain't,” said the voice, “she’s my wife.” ‘The Alfred Lunts were at home in Hollywood. (Copyright. 1931, by North American News- paper Alliance, Inc.) An Interesting Career I)OUGLAS FAIRBANKS, Jr., who, in a very few years, has won for him- celf an enviable reputation, now ap- pears as & star for the first time in “Chances” at the Earle. Son of Douglas Fairbanks and Beth | Sully, young Doug was born in New | York City, December 9, 1907, at the time when his father was but a young actor of rising popularity on the met- ropolitan stage, and with the movies still in the offing. He was educated by private tutors and in schools of New York, London, Paris, Pasadena and Los Angeles, his studies including painting and sculpture, in which he was irained for three years in Paris, and which he still pursues for pleasure. He plays the piano and sings, boxes, wrestles, fences, swims and has made tome track records. His poems, illus- trated by himself, are about to come ou in book form. He is said to speak | French and Spanish fluently. He wrote the titles for several of his father’s pic- tures and did the posters for “Reach- ing for the Moon.” e was an extra in several pictures before his first role in “Stephen Steps ." His pictures include “A Tex: “Is So,” “Stella Dallas, Power of the Press,” “The Careless Age,” “Fast Life,” “Our Modern Maid- ens,” “Jazz Age,” “Party Girl,” “The Forward Pass,” “Loose Ankles,” “Way of All Men,” “Dance Hall,” “Dawn Pa- trol,” “Little Accident,” “One Night at Susie’s,” “Outward Bound,” “Little Caesar” and “Chances.” Besides his screen work young Fair- banks has appeared in California on the legitimate stage in *“Romeo and Juliet,” “Young Woodley” and “Sat- urday’s Children.” It is said his am- bition is to play Napoleon's son in Ros- tand’s “L'Aiglon.” He married Joan Crawford June 3, 1929, and they appeared on the screen together in “Our Modern Maidens.” The young star of “Chances” Is 6 feet 1 inch in height, weighs 175 pounds and kes blue eves and blond hair. And the reviewers say he has scored & trium) hances,” as th> main attraction at R-K-O | Skyrocketed to stardom by his | 2108 Pa. Ave. N Colony Ga. Ave. & Farragut : F # Tal and e “Tarnished Lad-. Georas. Ariss X “The Mllllanl!r Coi { Dumbarton 1349 Wis. Ave. N. Fairlawn Anacostia. | Home c. Warner Baxter and Tallulah Bay d wmem’-fi Woolsey n “Oracked Nnts." Two_comedies Wallace Beery d Tean Harlowe in “Ths Secret Six." Short sublect Joan Eennett i artors’ Wives.” John Bof s and Lois Wilson in okhesd nd and Clive Brook DCrs- [ in "o of “T-roished Ladv - Orznge. Wallace Beery, Lewis Stone and Jean Harlowe in he Secret 4 Wheeler »7d Woolsey n “gracked Nuts." _Short_subject. Lowell Sherman and Loel Trene Dunne in Trene Dunne in “Bachelor, Apart- “Bachelor Apart- ment " ment.” “Shorman and John Gilbert and “A Gentleman's and Robert Mcntgomery, Ernest Torrence and Dorothy Jordan in_“Shiomates.” Adotphe Menjou. Teila Hyams and Norman Foster in “Men Call It Love." encer Tracy in Cvlinder Love.” “Advengures in Africa." No. 3 Wallace Beery Marjorle Rambeau n “The Secret Six.” Comedy. _Short_subject Leile Hyams_in Fate.” Georze Arliss olpae Menjou and in s Hyams in Teils, “Men Call It Love." Comedy. Bea Lyon and Ona Munson in Ben Lvon end e ““The Hot Heiress.” Comedy. Ona_Munson in “The Hot Heiress.” Comedy. Weyne and retta_Young in Three Girls Lost.™ . Comedy._Sportlirht. Victor McLaglen avd Lew C “Not Exactls Gentlemen Comedes. _Serial Bebe Danfels and Ricerdo Cortez in *The Maltese Falcon." Short_subject. Bebe Dauiels Short_subject 13th & C Sts. N.E. Jesse 18th nr. Joan El_Brendel and Finl D'Orsay in “Mr. Lemon of Orpnre.” Comedy. Cra and Lester Vail in . Dance.” Comedy. John Gilbert and Leila Hyams_in “A Gentleman's Fate.” ) “City Lishts." " Comedy. News. Comed. Lyric Galthersbure. Md. Ruth Chatterton in Ruth Chatterton in “Unfaithful.” ““Unfaithful.” Charlle Chase in Charlie Chase in “Thundering Tenors.” _“Thunderire Tenors." Charlie_Chaplin William Haines in A Taflor-Made Man." Serial & Edmund Lowe and e Spe r Tracy in “‘Quick Millions.” Jones wolf series—4. Comedy “Charlie Chaplin in “City Lights." Serial. _Comedy. Richard Arlen i ichard Arlen in . “Conauering Horde. ] Serial. ~ Fable. “Cradle of Liberty." | Princess 1119 A St. N.E. Savoy in nnecticut Fee. ner. d in ““Charlic Chan Cerries On. — Will” Rogers ~ Jack Holt n in “A Connecticut “The TLost Porade.” iancy Cerroil and Aillins Holmes in “Stolen Heaven." Short_subfect. arner Oland in “Charlie Chan Carries On.” 3030 14¢% Bt. N.W._ " Leo Carillo_and Lola Lane in “Hall_Bonnd" Joan Crawford n The Four Marx Ben Lyon and Brother. Pauline _Starke in “Whet Men Want Beity Comvson in ““The Ledy Refutes.” Vitaphone short Sublects. herd Cromwell d Norh Beery n paetcars and i Tianey Carroll Phillios Holme: Stolen Heaven Short_subject Neil Hamilton in “Command Per- formance.’ rze Arliss in George Arliss in e Millionaire.” “The Milllonaire.” Raiph Forbes and Young in eal Com.Cart'n, News Norman_Foster and Carole Lombard in “It Pays to Adver- Two comedies. Raiph Forbes a Loretta Youn “'Beau Olsen_and Johnson in_“Fifty "Million Frenchmen.” oredy Olsen_and Johnson in “Fifty ‘Million Frenchmen.” Comedy. News, " Richa ni in ““Tol'able David." Brown Edmund Lowe in ‘Men on Ci an. Neil Hamilton end Robi_Monigomery in_ Kay Johnson, in “‘Shiomates - “The Boy." Vitaphone short Comady. Rublect & rd Cromwell Walter Byron and and Nogh Beery Carmel Myers in in “The Lion and the “Tol'able David." i e Lewis Stape in, Will Rogers in : “Father's Son."” “Lightnin’. Ronald Colman and Kay, Francis in elen Twelvetrees in 2 “The Painted Desert.” Serial. Comedy Lawrence Tibbett in e Southerner. " Winnie_Lightoer 1 YGold Dust Gertte.” Vitaphone short ‘Subects. som Shipmaces vitaphone short Bubiect: 13th & Park York Ga. Ave. & Quebeo Ty in _ Robt_Montgom Lawrence Tibbett in "The Southerner.” Jack Folt in “Trader Horn.” ; “Subway EXpress Jack Holt in “Subway Express.” . Bebe Dan ““The Maltese Falcon Jones golf series—4. " Snort_subject. Barrymore in Vitaphone short ubjects. pmates vengal Vitaphone short Vitaphone short subject. subject Bebe Daniels in “The Maltese Falcon.” Jones golf series—4. _Short_subject John Barrymore i Dor: "Svengali J Vitaphone short subject Clara Bow in Kick In “Adventures in Africa.” No. 1 Where Salt Water Beg‘;ns. USALT water begins and fresh cr| brackish water ends” (it has been | customary to s2y) 40 miles below Wash- | ington. | The real invigorating odor of brine | from the ocean, however, does not greet | the tourist fairly until the bend is} pa-sed below Mathias Point and as far | down as what was once Lower Cedar | Point, 61 water miles from Washington, | end one can safely assert that “the | breezes from the bay have not lost | much of their strength.” The foregoing was discovered and disclosed by . G. Craerin in & pamphlet labeled “Along the Shore of | the Potomac,” given as a supplement to an old Weshington publication of | 1882 called the American Genfus Maga- | zine, and published by James Albert Clark. The then Lower Cedar Point, so apfly described, is now called Morgantown- | on-the-Potomac, the change of name being given by the late Robert Crain to perpetuate the maternal family name. Another item of interest in the same publication was that Lower Cedar was then under the management of the old St. Mark’s Hotel firm, H. C. Bowers & .; also that H. J. Kintz of Rochester, N. ¥., had traded his home in Roches- tor for a farm in Virginia opposite Lower Cedar Point, and was going to sell Jots for Summer h-nmi::, calling the place Colonial Beach. Manager R. G. Craerin, who is now operating the old resort, has tabooed all nelsy amucements and is maintaining all the natural advantages and beauty | of environment for those who wish to find a high-grade, quiet picnicking place in a beautiful shady grove of mulberry and cedar trees, almost entirely sur- rounded by salt water and with a per- fect bathing beach. ‘Morgantown-on-the-po‘omsc_is an hour and a half’s drive f.om Washing- ton via Anacostia Bridge, Waldorf and Crain Highway. New Wings for the Dove. BXLLX'E DOVE has bought an air- plane and has appli=d to the United States Department of Commerce for a pilot's license. For several weeks, 50 says a studio story, the star has been taking secret flying lessons under the tutelage of J. B. Alexander, who was chief of aeronautics on Howard Hughes’ “Hell's Angels.” She already has made several solo flights and has her stu- dent’s license. She expects to get her Government ticket soon. Miss Dove, it is explained, took up flying for its thrills, but now she has become such an enthusiast that she plans to fly to and from locations while | she is making her pictures. Already she is planning a cross-country flight to New York. ‘The star began production on her new picture, “The Age for Love,” June 22, | for United Artists, and under direction | of Frank Lloyd, with Hcward Hughes, produccr of “Hell's Angels” and “The Front Page,” sponsoring. Drawing Out Society. MARGARE'[‘ DUMONT, stage and screen actress, but more interest- ing as a member of New York’s “400,” after herd practice has learned how to hurl a brick at a cop. In “The Gir] Habit,” Charlie Rug- gles' new screen farce, Miss Dumont plays the part of a wealthy, haughty and very proper society matron. But in one sequence of the comedy she is | required to forget her dignity and, in | a fit of anger, throw a brick at a policeman. Director Eddie Cline called a re- hearsal and Miss Dumont went through this particular piece of “business.” She picked up the brick, poised it for a | moment and let it “fly.” It fell short, | and so she tried, tried again and ulti- mately “crowned the cop.” Joy reigns at Paramount, for prob- ably a new star is in the making. “Man in the Green Hat." ENE MORGAN, headlining as a comic now with Fanchon and Mar- co's “Top o' the World” Idea at the Fox, is no more nor less than “the man in the green hat,” but maybe not the one who bucked a constitutional provision and struck a snag. Morgan has been a vaudeville head- liner since long before big-time vaude- ville fell by the wayside and is in Wash- ington this week for the second time since the Fanchon and Marco shows started this way. . He always wears a green hat, but not Michael Arlen's. Gene wisecracks, gags, jokes, sings, dances and what will you, but he hasn't yet attempted to monkey with the U. S. Constitution—at least in a wicked way in public. - Chinese Sherlock Holmes. WAR.NER OLAND as Charlie Chan, in “The Black Camel,” a new epi- sode of the Charlie Chan series now at the Fox, with brilliant deductions and whimsical ~Oriental &:overbs deftly solves the mystery of killing of the screen star, Gorgeous exterior scenes were actually made in Hawail on the| exact location of the story. “The Black Camel” is declared even | , more thrilling and entertaining than its predecessor, “Charlie Chan Carries On.” But Warner Oland’s creation of a Chic Sale, Dickie Moore and Geor; picture, “The Star Witness” ge Ernst in a scene from Sale’s starring . ’ Universal’s The first of Universal's 1931-1932 re- leases include: “Waterloo Bridge” changed), (title to be days. ‘Tense. human drama. “Lasca of the Rio Grande,” suggested by the pcem “Lasca,” by Frank Des- prez. Locale, the Rio Grande Valley both sides of international border. Ro: mantic drama teeming with action. “Heaven on Earth,” from the prize novel by Ben Lucien Burman. Locale, Mississippi flood area. Perpetual argu- ment between shanty-boaters and steamboat men. “Homicide Squad,” original screen story by Henry La Cossiit. Story of police round-up of hi-jackers and clever- ness of detective bureau. “Strictly Dishonorable,” play by Preston Sturges. “Fate,” an criginal screen story by Erich Maria Remargue, authcr of “Ail Quiet on the Western Front.” A mod- ern, romantic story, with no reference to war. from the “Frankenstein,” from the movel by | Mary Wollstonecroft Shelley. _Stage hit of current London scason. Weird, uncanny drama of scientific monstel “Spirit of Notre Dame," original screen story by Richard Schayer and Dale Van Every. Story of college life and how a student’s loyalty to his school is tested with unexpected re- sults. Many scenes made at Notre Dame, with co-operation of university authorities. “Graft,” original screen story by W. Christy Cabanne. Story of modern graft and newspaper expose. “Saint Johnson,” from Outlook Mag- azine story by W. R. Burnett. Story of law and order in Arizona border town in early days. ‘Murders in Rue Morgue,” from the The Temperature is Just Right KEITH'S 15th at G The Greatest opportunit s ofered to Amerie LEW AYRES “UP FOR MURDER” A Universal Picture With GENEVIEVE TOBIN Star of “SEED” “Mickey's Rebelllon Sersen_ Seasehels the Screen vorife Star Chiness Sherlock Holmes is easily its B unique featuré - esop Fable relieht RX) FATHL NEWS from the Robert E. Sher-! wood play. Locale, London in post-war | First Crop story by Edgar Allan Poe.’ Parisian | murder mystery “Boulevard,” from the German novel “The Man Who 3:lls His Time," by Ernst Wolff Story of a man who han- dles millions of dollars and is not |tempted until he falls desperately in | love. “The Up and Up.” from the play by Eva Key Flint and Martha Madison. Story of romance and intrigue behind the scenes at the race track. “Back_Street,” from | Fannie Hurst. Stirring human_dral \msrd on the life of a Jewish girl who chose the wrong road o romance. “Mystery of Life,” an original screan story written and produced by Clarence Darrow and Dr. H. M. Parshley. Story |dealing with evolution. Produced in New York and in Europe. “Nice Women,” from the novel by Willlam A. Grew. Produced by L. Law- rence Weber at Longacre Theater, New York, 1929-30. “Eagles,” original screen story by John R. Moffitt. Story of progress in “ young pilot. — . Movie Realism. NO'X‘HING being too difficult for the sake of realism, the Radio Pictures studio now boasts “the only real Rus- slan railway passenger compartment, first class, in this country.” According to Max Ree, art director, it was constructed from Russian rail- way blueprints, and is to be used in “Kisses by Command,” a “swiftly mov- ing tale” of Russian intrigue and es- pionage during the World War, with a | background of battlefields, palaces and gay watering places of Europe. wi REGINALD DENNY CHARLOTTE GREENWOOD LEILA HYAMS CUFF "".3;7.‘ [ o 1N AFRICA othy Mackaill and | the novel by ,‘:l‘H aviation and of adveniures of ambitious Richard Arlen and Fay Wray in The Conguering _Horde.”" Comedy. Leon Erroll and 7aSu Pitts in “Finn and Hattie." Sh't subject. Africa. No. 1. __ ace FPéery and n Harlowe in ‘The Secret Six."” ‘Short. subject seriel Racing Realism in Film. | A RACE track within a race track | was the strange picce of construc- tion by which an sctual horse race ! | will be filmed in “cloce-up” in mak- | ing “Horseflesh,” latest drama of the turf. On a tract of land near the Metro- | Golawyn-Mayer studios in Culver City | | construction has been started on a com- | plete half-mile track, with grandstand |and all details. On each side of the tract proper will run a paved road- | way, banked at the turns. As horses | race on the track, automobiles carry- | ing cameras and microphones will fol | low them on the two cement tracks, { thus filming every detail of the rac- | ing horses in “close-ups.” This is the | first time such a feat has been a | tempted. The new picture is based upon Fred- erick Hazlitt Brennan's Saturday Eve- | ning Post story. | Famous race horses figuring in the play will include Tommy Boy, a noted Caliente winner; Blue Lake, El El-| egante and other track winners. i | eudisses o mliticony ipoking Fun at Themselves. | VI OTION Picture producers do not. as | a rule, poke fun at themselves, but | Metro-Goldwyn-Mayer came _danger- | ously near it in the screen adapiation | of “Stepping Out.” the Elmer Harris | play which ran for months on Broad- way. ! " "The plot of the comedy-romance now |at the Metropolitan Theater, in its | screentransformation, revolves around | | the “attempt of two husbands to use thelr wives' money to establish a motion | picture company. | © The maneuvers of two gold diggers, who want to become stars of the com- pany, add to the fun which is brought | to & riotous climax when the respective | vives of the would-be movie magnates | | appear on the scene and take matters | |into their own hands. any of the scenes were filmed at | Azua Caliente, the noted pleasure re- sort, which has been used for the first time as a motion picture locale. FITS‘ Ald on Scteen. FIGURE hitherto ignored in motion picture glorification receives its first recognition in “First Aid,” a Sono Art production, whose central char- acter s a youthful ambulance interne. “For reasons that continue to-be a mystery,” the studio news note states, | “the feverishly adventurous life of the medical apprentice has never before oc- | cupied the spot of major interest in a | motion picture. But now Michael L. Simmons has conceived the idea of im- mortalizing in film form “the nerve- | wracking career of a typical ambulance doctor.” Grant Withers has the role of the | embryonic healer. | | “ - Has TOm Sawyer Cast. UCKELBERRY FINN,” the sec- ond screen version of a Mark | Twain story to go into production as a Paramount talker, has just started in tHolva_&Faod umie;-1 the d!recmkm of Nor- man urog, who made “Skippy” and “Forbidden Adventure.” it “Huckleberry Finn” will have sub- | stantially the same cast as the first of these juvenile classics, “Tom Saw- |yer.” In'it are Jackie Coogan, Junior Durkin, Mitzi Green, Jackie Searl, Clara | Blandick, Jane Darwell, Frank Mc- Glynn, Clarence Muse, Aflcen Manning, Guy Oliver and Warner Richmond. | | Kitty Kelly and “Noodles. K}TI'Y KELLY has had her option taken up by Radio Pictures follow- ing her work in “Waiting At the | Church,” all-technicolor picture, with Mary Brian, Geoffrey Kerr, Marie Prevost, Johnny Hines and Joseph Caw- thorne as its featured players. She has been cast opposite Rosco Ates in a new short comedy, “Use Your | Noodle. Lloyd French will direct the ! various “Noodles” running through the action of this two-resl subject, and @ LOE WS CLIVE BROOK-CHARLES ROGERS RICHARD ARLEN-FAY WRAY- ., JEAN ARTHUR. | they disappear from view. AMUSEMENTS. —~ 37 The Moving Picture cAlbum By Robert E. Sherwood. N electrical engineer once looked upon Niagara Falls, shook his head sadly and remarked, “It's the most gorgeous waste of op- portunity known to man.” He was wrong. Niagara Falls may be the second most gorgeous waste, but the first and foremcst is to be found in Hollywood. In the citadel of the cinema money and talent are squandered with a profligacy that is astounding and awesome and horrifying. Recently a veritable tempest was pro- voked by that mild and gentle Briton, P. G. Wodchouse, who coniessed in prirt $104.000 in sa'ary from Mictro-Goldwyn- Mayer and h~d provide . in return not one scrap oi usable material. This statement was considered a brutal breach of good taste, for the Hollywood ethical code dictates that it is permis- | i sible, even admirable, for one to get the graft, but that one must never brag about it. Mr. Wodehouse, it is felt, should rave indorsed and deposited the checks and kept his mouth shut. By broadcasting the news of his fantastic earnings he has only made it more diffi- cult for his brother authors to get away with the profitable idleness that has made Hollywood both notorfous and popular. However, in my opinicn, Mr. Wode- house’s chief crime is that he didn't tell the whole truth. He should have rdinarily in- dustrious and conscientious worker, and that he has taken his cbligations seri- ously while under contract to Metro- Goldwyn-Mayer. He has done a phe- nomenal amount of work, turning out one story after another, laboring ear- nestly to earn his wages. Presumably his employer, the benevolent Mr. Mayer, has inspected the Wodehouss composi- tions and decided that they fall short of the high standard required in Metro- Goldwyn-Mayer productions-—the stand- ard established by Ursula Parrott in “The Divorcee” and Kiss.” For thos2 of us who know Mr. Wode- house's works and who recognize him as a master of comic characterizations and dialogue it is rather hard to believe that he could have written dozens of manuscripts containing no usable mate- rial. Indeed, I shall go so far as to express the opinion that Mr. Mayer and his fellow executives should be sent to a reform school and taught to read. The loss of $104,000 is no cause for lamentation, even though it is going | out of the country. But it is a shock- ing thought that P. G. Wodehouse should have spent a year of his valu- able life casting pearis before the Metro- Goldwyn lion. * k X x (QNE can name innumerable depress- | ing instan~es of the stage that | yoes on forever in Hollywood—thousands | upon thousands of manuscripts, bought and paid for and now reposing hope- lessly on shelves. and millions of feet of film, produced at vast expense and (ke- cause somebody blundered) never re- leased to the public. But the most grievous wastes of all are those that | eren't so easily tabulated or reckoned | in terms of dollars end cents. For instance, there is Erich von | S'roheim, one of th: lamentably few | figures in movie history who might be | labeled with that misused _term, | “genius.” Don Herold once defined | “Strangers May | l genius 2s “an infinite capacity for give ing pains,” and Von Stroheim has un- doubtedly conformed to that definition. He has cost his various employers in- tolerable sums in anguish as well as in money. But he also has performed miracles. There is not a movie director living who doesnt’ owe a debt of incal- culable magnitude to the weird artist who made “Blind Husbands,” “Greetd” and “The Merry Widow.” Why is no use being made of this colessal talent? The last important job that Von Stroheim has had was on Gloria Swanson’s discarded picture, “Queen Keily.” He wrote it, direc:=d #nd acted in it, and it is one of the most exciting stories I have ever heard. It is now embalmed in red ink, and Miss Swanson is appearing before the Ians in that delicious funfest “Indiscre- on.” Von Stroheim is given all the blame for the Josses suffered by the backers of “Queen Kelly.” The leading producers refuse to have any dealings *it1 him. They say he is “unmanageablc.” Per- haps he is—and perhaps the reeson for it is that the potent executives of the film business don’t know how to manage any one who is above their own intel- lectual level of mediocrity. As another instance, there is John Gilbert, who is pacing about like a goaded panther through the upper reaches of Beverly Hills. The star of “The Big Parade” is still under con- tract (and an amazingly fat contract it is), but he can't get work. Because in the past four years he has not been vouchsafed one faintly good part his | bosses have decided that he is through. | They believe that if they can tell him often enough that he has an effeminate | voice he will begin to believe this ab- | surdity himself and will voluntarily | break the contract which (for none too |gedmb!e reasons) they signed with m. | Eventually, and probably accidentally, | Mr. Gilbert will happen on the sort of :lllking part that suits him, just as did | Adolphe Menjou did in “The Front Page.” It would be peculiarly appro- | priate if this should happen in a pic- ture directed by Erich von Stroheim, | who in “The Merry Widow” gave John {Gllhtn his greatest bcost toward the heights. | i | ITROM Boston comes the following | plaintive plea: “If you have any influence at all with | the producers, please use it to bring back to the screen musical and dancing films. Why these are tabu is beyond | me and my friends. We have had noth- | ing lovelier than ‘The Desert Song.’ | ‘Rio Rita’ Ramon Novarro's voice in ‘The Flesh and the Devil’ (sic!), and so on. Why have musical shows gone by the board and gangster pictures sub- stituted? Musical shows were always packed to the doors and people went out feeling happy.” In reply I can only say that I have no influence at all with the producers, but I suspect that if musical films really had packed theaters to the doors they would never have gone by the board. Evidently the spectators who saw and heard “The Desert Song,” etc., happy on leaving the theater that they stayed a and returned only when a&:{ured that singing and dancing were out. (Copyright. 1931.) RED WARING'S Pennsylvanians, the ccllegiate orchestra, perennial | Washington favorites, are back at the | comedy scenes, present a megaphone drill with West Point precision, and | massed as & glee club ensemble present | a brief program of melody, music and | magic all rolled into one. Particularly baffling has been the ! electrical novelty presented with “The Danc: of the Dominoes” one of the| outstanding treats of their performance, | during which huge illuminated domi- | noes float leisurely across the stage to the rhythm of the music, to converge in skyrocket fashion and “explode” in | a poal of stage thunder, scattering in confusion high up in the wings, where | As the music continues the dominoes | reappear and noiselessly form three huge dancing men, whos: legs dangle and kick to the rhythmic beat of the tune. Suddenly these mechanical figures fall | apart and one massive dencing goblin takes up the center of the stage and | wigglcs through a chorus with a snake hip and rolling should:r dance that | leaves the spectator thoroughly mys- | tified. | All this is done Wwith a completely darkened stage and auditorfum, while the music is unmistakably coming from | the orchestra on the platform. Suddenly | the brass and reed sections blast forth with the finale of the number and the | house is suddenly bathed in light. | There are the Warings, apparently un- | moved, but the dominoes are nowhere in sight. If you were allowed to watch the | Pennsylvanians rehearsing this intri- cate electric illusion you would see a scora of collegiate acrobats clambering over shoulders, passing the illuminated dominoes noiselessly from one to the other, all to the hushed counts of Di- | rector Waring, with every member of the orchestra of 20 alternating his movements by playing his portion of | the melody. | If by some stroke of fate the house | lights “were flashed on the audience might see a cornetist lying flat on his stomach as he pipes out his tones, while high up on th> platform the trombone player would be seen mountsd on the bass viol's shoulders frantically waving a quartet of lighted dominoes, two in each_hand. i Magic With Music Every movement must be accurately timed and measured to a fraction of an inch, and all in total darkness. One | Palace to bound in and out between |slip, a misplaced foot or a slanting arm, and ths catire number is thrown out of rhythm and the figures become imper- fect. The space allotted is just large encugh to allow for the passage of & | player, for musical instruments, chairs and racks clutter up the platform and the boys must circle around and be- tween these as they climb, stop and Jjump to their places in the drill. Fred Waring, who divided his time in Penn State College between classes in architecture and rehearsals with the institution’s banjo and drum corps, works out all his drills and musical tricks in advance on paper and then transfers them to blueprints, and a copy is given each member of the organization. - Love a la Movies. 'HE “smokiest” love scene of the year was shot during the filming of “The Great Lover,” featuring Adolphe Menjou and Irene Dunne. It is the scene where Adolphe allows the smoke from a cigarette to billow up in front of the camera during a close-up. As the source of smoke was not visible in the camera angle, the love interest ceemed to bctoken the presence of fire, 2nd hence wasm indeed! LAWRENCE TIBBETT in “THE SOUTHERNER” Sunday et 3:40. _Monday_at 6 PRINCESS WILL ROGERS in _ YANKEE." 5:40. 7:40. 9:40 00._8:00._10:00 119 H St N.E. Linc. 2600 “A CONNECTICUT i C Sts. NE. und Equipment MITZI I unsolved secrets of .~ Ho“ywood‘ Earl Derr Biggers' Thrilling tale,with 'WARNER OLAND SALLY EILERS DOROTHY REVIER BELA LUGOSI VICTOR VARCONI MARJORIE. WHITE — STAGE — Fanchon & Marco's “TQP 0’ THE WORLD” Idea with Al Mitchell—Bob Hamilton Warner Bros." AMBASSADOR c. TODAY and TOMORROW—DOUG: LAS FATRBANKS, Jr.. "CHANCES." €4 B St NE TODAY and TOMORROW-—WINNIE LIGHTNER, ~GOLD DUST GERTIE. Wi AVALO| TODAY. BOLE Conn. Ave. and MeKiniey St., D. C. and _TOMORROW—JOHN 'SEED.” 645 Pa. GRAND %% %%, and = TOMORROW-_WAL- BEERY. “THE SECRET Warner Bro: TODAY LA SR Warner Bros.’ RAL v 5t Bet. D ana & TQDAY and TOMORROW—SP] TRACY. “QUICK MILLIONS." & Farragut St. and__ TOMOROW—JOHN R " 1230 © St NE. TODAY and TOMORROW-—ROBI _MONT(;O R aATea T Warner Bro; 1th & Col Rd. N.W. TOMORROW-—WARNER CHAFLIE CHAN CAR- b TODAY and CLAND. Warner Bros.” QL] 4> & Park Ra. N.W. TODAY_end RROW—WINNIE ldln?HTN!Tg.“o"U LD DUST Warner Jics fo Ga. Ave. & Quebes St. N.W. TODAY and TOMORROW—ROBERT SRONTESMERY: O BHIEAATES Pa. Ave. W, 0958 o ‘.Al‘{ Mirrer kl“:l R WIVES" » o A . D. C. FAIRLA GEONGE ARLISs “THE MILLIONAIRE. 1 Wi e DUMBARTON" A IVE BRt Tih & Jrving| Sts. N.E. “DANCE FOOLS DANCE." JOAN CRAW- FORD, LESTER. VALL. ~OUR GANG