Evening Star Newspaper, March 19, 1933, Page 37

Stage—Screen , Music—Radio Part 4—6 Pages RICARDO CORTEZ YBROADWAY BAD’-FOX PO "“Cavalcade” a Rare Event For Any Stage or Screen How This “Best of Pho toplaye" Is Measured to Determine Its Outstanding Qualities and Why It Is a Major Cinema Hit. By E. de S. Melcher. € HAT makes you think that ‘Cavalcade’ is such a good picture?” said a film patron last week, shaking his head over all the enthusiasm which the film had caused in this department. “What standards do you judge it by? What standards do you judge any picture by? I can remember a great many films that are better than ‘Cavalcade.’” “Can you name them?” “Certainly.” He scratched his head for a minute. “Well,” he said, “there’s—" And he scratched his head again. “Well, there’s ‘Cimmaron,’” he said, finally, and he smiled broadly over his victory. “And?” “And—well, I don't know. But there are lots of others. I'll think them over and give you a list. But first tell me what methods you use in judging a film. is ‘Cavalcade’ that good? Why is it, according to many, ‘the perfect picture’?” The question has been asked much of late because there is much difference of opinion about it. Although it has been recog- nized both here and abroad as a film which deserves almost un- qualified approval, it has met with considegable coolness in some sec- tions. The reason for the complete satisfaction that it gave this desk is due to the completeness of its theme, the skill of its actors and the deep significance which lies just under its surface. It cannot be judged according to other films, because it is totally unlike other films. You cannot say that it is wildly exciting in the fashion of “King Kong”; you cannot say that it is highly amusing; you will have to admit that many of its scenes are long. There is no blis- tering love story, no flinging over- board of ideas and ideals, as there was in Mr. Coward’s “Design for Living.” Instead, there is merely the story of a family—a family which is so drawn into the web of its country’s policies and cam- paigns that what remains of it is a rather mutilated but still cour- ageous quantity. “Cavalcade” is not a “flapper” picture. It’s thesis does not engulf one in a brief hour’s time. You must stay through the whole of it to appreciate its significance. If you have missed those fine strong | words which Husband and Wife Marryot speak just before the final curtain then you have missed the spark which has flamed it into life. In that brief “epilogue” Mr. Coward has spoken from his heart, and England’s heart as well. *x Kok % AS to the judging of it—that is a matter of personal feeling and the amount of entertainment stimulant the film has given you. If you are not aroused by its sig- nificance, if it has not prompted you to a nobler state of mind, then either you have not delved deep enough or you are not susceptible to matters of this sort. You must, in fact, not be interested in the “march of time” and the effect that it has on the family as a unit. The judging of a film is not as simple a matter as it might seem. Comparisons being gener- ally unfortunate, it is unfair to go on saying “this is better than that” and “this is the best of them all.” The reason, however, for saying that “Cavalcade” is “the best of them all” is because in thinking back over photoplays in general there is no other picture which has gone so deep and at e same time has been so simple n treatment. are not presented in Cecil B. De Mille fashion. There are a mul- titude of significant world doings which are treated sketchily, yet trenchantly. One of the most stirring sequences in it is the fu- neral of Queen Victoria. In that| you glimpse the satisfaction that Mr. Coward has had over the filming of his play, because noth- ing has been done to destroy that dramatic moment when the little boy turns to his mother and says, “She must have been a very little lady.” If Mr, De Mille had filmed this you would have seen, instead of gl the Marryots watching the proces- sion, a magnificent duplicate of the original, with extras marching Events of history || pses of the balcony with | | and all the trappings and trim- mings of the distinguished court which paid tribute to England’s popular queen. * K K X .“CAVALCADE" should not be judged, for instance, in the manner of judging which took place recently here in Washing- ton. What was meant to be an infallible system of marking was given a one-act play tournament —a tournament in which this city showed itself rather richer in act- ing than in plays. Plays were judged on the following bases: Acting, 40 per cent; choice of play, 20 per cent; direction, 20 per cent; stagecraft, 10 per cent; voice, 10 per cent. What happened was inevitable—confusion. You can- not judge a play mathematically, just as you cannot write a play mathematically. Human emo- tions are too elastic to allow their being added, multiplied and di- vided by any common denomi- nator. What is good is good be- cause you think so, not because a rule tells you that it must be so. Acting, furthermore, has a great case of “Cavalcade,” it is not al- ways the most important item. Any kind of “good theater” wins its spurs by the excellence of its whole being, and not by a part of it. As a matter of fact, the one-act play judges could not help but agree that “Cavalcade” is just about 100 per cent, according to their schedule. Nevertheless, films and plays should not be tackled with an eye to per cent. They should be enjoyed from the stand- point not only of their efficacy in the-theater’s various departments, but also from the standpoint of their philosophies. “Cavalcade,” no matter how badly acted, would always invigorate audiences by the message which lies behind it. Its thesis is elevating and its mission one of faith and courage to those who are tempted to weaken in the face of adversity. Even if its stagecraft were only 5 per cent, its “voice” less than that, its di- rection, 10 per cent, and its acting main a fine, worthy drama. No matter how you look at it or “score” it, it i a rare event on any stage and in any theater. Cinderella Girl. ANOTHER Cinderella story came true last week! Yolanda Patti, a waitress at the Fox studio in Hollywood, was only a wait- ress last week, but now she’s an actress. Alfred Santell noticed her when she was waiting on him and recognized the type he needed for a role in “Bondage.” As g result another waitress went on the pay rolls as Miss Patti went off the restaurant list. She's playing in scenes opposite .Dorothy Jordan, Alexander Kirkland and others. She hails from Butte, Mont., is a brunette and never had film aspirations. Joe Comes Back JOE PENNER, on and on until the end of time, Comedian of “Follow Thru,” who re- turns to the Fox stage this week. 'S deal to do with it—but, as in the | far from the top, it would still re- | AMUSEMENT SECTICN he Sunday Star. WASHINGTON, D.. C, SUNDAY MORNING, MARCH 19, 1933. BUSTER CRABBE FRANCES DEE AKING OF THE JUNGLE # EARLE RUBY KEELER , ‘31 ND STREET IETROPOL ITAN Extra TB“( Tomorrow. MISS JANET RICHARDS, whose reg- ular lecture course ended Monday, announces that in response to many requests of her patrons, she will give an extra talk tomorrow morning on “Affairs Political and International.” ‘Taking as her first theme “The Driving Power of a Roosevelt"t ::e w&m review the amazing progress of the “New Deal” in conquering the crisis resulting in restored public confidence as evidenced by the rally of stocks and the general upturn of business activity. European war scare and its causes will be re- viewed, with some comment upon the new aspect of Premier Mussolini in the |role of an apostle of peace, and the equally surprjging anomaly of the premier of e Republic of Austria establishing a_dictatorship presumably to stem the tide of Hitlerism in Austria. The talk will be given in the Willard Hotel at 11 o'clock. Lecture on Hollywood. IN answer to the question, “How does one attain success in the moving picture industry?” a lecture by Miss Estelle Allen on “The Three Roads to Hollywood” will be delivered at the Carlton Hotel Wednesday, at 8:30 p.m. Those wishing to attend may receive invitations by addressing Estelle Allen Scuteilos, 1616 Sixteenth street north- west, Hero Goes On Vacation. RUCE CABOT, the romantic hero of “King Kong,” left the R-K-O Radio Studios in California the other day for a 10-day vacation in New Mexigo. Young Cabot is going to satisfy a desire of 10 years’ standing, by trying to trace the famous Lost River near Carlsbad, N. Mex. The river suddenly disappears into its bed and no one has ever been able to find in which direc- tion it flows or where it resumes its course above the surface. Cabot hopes to return with the secret. On his return to the studio Cabot will be cast in an important leading role in a forthcoming picture. URSULA JEANS LAWTO \C German Film Today. "an MENSCHEN" (two souls), & German sound picture, will be presented under the auspices of All Souls’ Unitarian Church, in Plerce Hall, today at 3:15 pm. and 7:30 pm. The theme enacted by Charlotte Susa and Gustave Proelich, concerns a youth whom family tradition and his mother’s vow force him into monastic life, calling upon him to sacrifice his childhood love. The dialogue is in German, with an accompanying English Screen trans- lation which makes it understandable to those whose knowledge of German is limited. The setting is in the scen- ery of the Tyrolean Alps, with moun- tain paestures and torrents, medieval monasteries and castles, and in the sol- emn splendor of ecclesiastical Rome. NK N VALCADE NATIONAL. GARVETH WELLS WUNGLE KILLERY COLuMB/A Effective Film Team. \WO women, whose long stage careers have been strangely en- twined for years, find selves to be & particularly ef- fective team in talking pictures. ‘They are May Robson, character player, and Louise Closser Hale, actress, novel- ist, playwright and world traveler, who are now under contract at the Metro- Goldwyn-Mayer studios. Both are distinctively different. Miss Robson is essentially a dramatic ac- tress; Mrs. Hale revels in roles in which whimsical humor and her rapier-like wit can be used to advantage. They first played in the same picture in “Letty Lynton” when Miss Robson was Joan Crawford’s stern old mother and Mrs. Hale the comical maid ix?nqll‘%m v";h‘he’y alsp appear together “The ite Sister,” co-starring Helen Hayes and Clark Gable. They Don’t HE Cinderella story of a person “crashing the movies” to fame and fortune is declared to be Hollywood’s most _persistent myth by B. P. Schulberg, pro- ducer for Paramount, who contends that nearly every prominent player in Hollywood today was invited to come there by the producers. Of 55 players under contract to Paramount only four arrived in the film capital unknown, unheralded, to seek careers. Ricardo Cortez, who now has the leading role in “Dead on Ar- rival,” crashed as an atmosphere player in New York more than 10 years ago and received his first recognition shortly thereafter. Richard Arlen, also without stage ex- perience, broke in 10 years ago. Gary Cooper started as an atmosphere player eight years ago and Frances Dee did the same three years ago. Every other player on the Paramount roster was recruited from little thea- ters, selected studio _contests | or ‘taken from the stage, radio or foreign motion pictures. To make these “discoveries” the studio maintains a “spy” network over the world, Schulberg explains. Shows are seen everywhere. Every employe of Paramount is always w{flm[ for tal- ent. Of the players under contract | five were signed when road shows in which they were appearing nhm Los Angeles. These are Nancy Stuart Erwin, Roscoe Karns, Frederic March and Charlie Ruggles. Gloria Stuart, who is playing the lead | opposite Cortez in “Dead on Arrival,” | was discovered in an amateur theater, | the Playbox, Pasadena. Pichel came from a Little Theater in Santa Barbara, Calif., and Randol] Scott from the Pasadena B tetne Ames, G Grant and J were l“azgn’ed“v’n-uu e Lodge, an. attorniey, on legal hulnfl’, Lodge in Los was in H( Crash N.ow when he met executives who urged him to sign a contract. ‘The Nation-wide Panther Woman contest resulted in the signing of four girls—Kathleen Burke, the winner, from Chicago; Lona Andre, from Nashville, Tenn.; Verna Hillle, froin Detroit, and Gall Patrick, from Birmingham, Ala. Buster Crabbe, champion Olymp! ) s ed aoonllner the Olympic games in Los Angeles. Dorp(:hhu Wieck was placed under contract in Berlin as a result of her lormance in the German film “Girls Uniform,” and Sari Maritza was signed in London as a result of her work in European films. Marlene Dietrich was ” on the Berlin stage by a Paramount di- rector on vacation, and Maurice Chevalier in a Paris music hall by an executive. ¥is plaving in Chicago. Shirky Grey was 3 y Grey was ?mmd by Hollywood scouts while in stock in Oakland, Calf. considera- “We are both character actresses, but can’t conflict because each of us has an entirely different style of character- ization and an entirely different view- %o;lm on dramatic work,” explains Mrs. e. Behind their appeatances lies the story of a great friendship of many years. Mrs. Hale, a successful novelist, when she decided to act, took a course in the New York Academy of Dramatic Art. And the actress who taught her the art of makeup was May Robson. The friendship that was started there extended down the years. The pupil married Walter Hale, the famous etcher. She and her husband traveled in Europe, he making etchings to illus- trate her articles on European locales, published for many years in Harpers. ‘The teacher played many famous stage roles, finally her greatest suc- cess, “The Rejuvenation of Aunt Mary.’ Mrs. Hale wrote novels, “The Canal Boat FPracas,” “An American’s Lon- don,” and others. Between her writing she scored in “Beyond the Horizon,” “Miss_Lulu Bett” and other plays in New York. Miss Robson’s “Aunt Mary” played all over the world. She needed & new play. So her friend Louise Closser Hale took a leave of absence from the theater, and wrote “Mothers’ Millions,” h ved t & hit as Miss Incidentally unt Mary” and “Mothers’ Millions” brought Miss Rob- s, ‘Halo' came to Hollywood ss & TS, came result of playing a role in “The Hole in the Wall” with Claudette Colbert in New York. Since then she has played in numerous pictures, including “Re- bound,” “Shanghal Express,” “Plati- num Blonde” and others. ‘Then she was cast as Matilds in Miss Crawford’s picture. And, when she arrived on the set, she found her friend May Robson there in_the mother role. Each won & long: as results of the roles they played in that particular picture. In Washington Theaters This Week. NATIONAL—"“Cavalcade.” This GAYETY—“Jingle, Jingle.” evening. EARLE—“King of the Jungle,” evening. Burlesque. afternoon and evening. This afternoon and and vaudeville, This afternoon LOEW’S FOX—“Broadway Bad,” and “Follow Thru” on the oon and R-K-O KEITH'S—“Our Betters. stage. This aftern COLUMBIA—“The Jungle Killer,” starts tomorrow. Liner,” last times today. evening. ” This afternoon and evening, “Luxury METROPOLITAN—“42nd Street.” This afternoon and evening. RIALTO—“The Big Cage.” This afternoon and evening. PALACE—“Rasputin and the Empress.” This afternoon and N BARRYMORE ALEXANDER UTIN AND THE EMPRESS' PALACE QLYDE BEATTY THE BIG- CAGEY RIALTO e | -term contract |, | Cohan Here Next Week. | (GEORGE M. COHAN fn his new play, “Pigeons and People,” announced at the National next week, is reported by the New York critics as having “out- written and outacted everybody in the | neighborhood” Further, he debunks bunk by slashing at the follies of the day through the medium of guffaws. “Pigeons and People” is typically Cohan; it is different from any play ever written. _First, there is only one act. Second, Broadway'’s “First Citizen” is accused of bedazzling his audience for nearly two hours, leaving them, around 11, still beating their hands and their sides over one of the most spectacular stunts ever presented in a playhouse. Those in the big cast include Walter Gilbert, Paul McGrath, Olive Reeves- Smith, Edward F, Nannery, Alney Alba, Eleanor Audley, Janet Rathbun, Lu- cille Sears, Reynolds Denniston, Arvid Paulsort and Howard Hull Gibson. Sam Forrest staged the production. A New Fox Star. HEN'RY GARAT, Fox's newest star, who will make his American talk- ing picture bow in “Adorable,” opposite Janet Gaynor, was induced to make Paris, the son of Jean and Paola Garat. His father was 8 boulevard comedian and achieved some notice in his days an entertainer. His mother was an Opera Comique prima donna. So it was not strange that at the fi‘ol 8 little Henry was on the stage, ieking at the top of his lungs as he was being kidnaped in a scene by his own father. ‘When he was 10 Henry was sent to the Conservatoire of Acting, in Paris, | and later to Brussels for the same type of schooling. At these institutions of dramatic art he learned early the nuances of Moliere and played roles in other Prench classics. At 20 he had his first important part in a play at the Albert I Theater, in Paris, followed by another in “Le Voleur,” in Brussels. Compulsory military service for young men temporarily broke up his “stage aspirations. But when he was mustered out he secured a part in a Moulin Rouge revue doing songs and dances with the famous Gertrude Hoffman Girls as background. He attracted at- tention with his_personable bits and zupg’!wpmlte Mistinguette in “That There followed a season at the Ca- sino de Paris and then he toured the Americas for three years with “Night In Paris,” a Shubert production. Back in Paris he appeared once more oppo- site Mistinguette and then embarked on his picture career. In succession he made “The Three Men of the Petrol Station,” “Her High- ness’ Command,” “Left Bank,” “The Charm School” and “Congress Dances,” “Simonde Is Like That,” “La Fille de Garcon” and “The Blonde Dream,” all of the latter four with Lilian Harvey, Then he was asked to go back to stage to appear in “Christmas Eve,” He did, and at the same time made & motion picture version of the play during the day. Both met with success. Automobile and Aviation News STANCE BENNETT BETTERS Y-k &/ H's Ry American Drama Revolves Around Many Woman Stars They Claim the Spotlight on Broadway, and the Best Plays of the Season Pay Little Attention to "The Stronger Sex.” By Perq Hammond. HE American drama seems to be in the hands of the ladies, at present, with most of its flam- beau exponents belonging to the distaff side. Benkhead, Miss Ina Claire, Miss Kath- | erine Cornell, Miss Lynn Fontanne, Miss Pauline Lord, Miss June Walker, | Miss ‘Wood and Nazimova (I list | them alphabetically) occupy all the | stellar chandeliers except that from | which George Cohan steadily gleams. | In what has been described as the Broadway firmament Mr. Cohan is the | sole and only independent man-star now visible to the naked eye. Francis| Lederer, in “Autumn Crocus,” shares | his glowing with the phosphorescent Miss Lillian Gish; and Mr. Lunt and Mr. Coward enjoy being dimmed in “Design for Living” by the luminous Miss Fontanne. Even in the trivial or music drama such male suns as J; Durante in “Strike Me Pink” and Fred | Astaire in “Gay Divorce” are eclipsed a little by their lady satellites—Miss | |Lupe Valez, Miss Hope Williams and | | Miss Clare Luce. And in all the good, | honk-a-tonk tom-foclery of “Take a| | Chance” it is a lady, Miss Ethel Mer- man, who stands out and above her he companions &s an intelligent enter- tainer. Miss Bankhead, Miss Walker and Miss Wood have appeared within the fortnight in comedies the best of which | can be said is that they are “vehicles In “Forsaking All Others” Miss Bani head plays an urban girl, who, having ar- rived with her bridesmaids at & smart church in order to be married, receives a telegram from her betrothed, inform- | ing her that he has changed his mind. He is sorry, he says, but he will not be there, since he has decided to elope with another character in the play. Re- moving her marriage veil in the vestry, she takes the tidings gallantly on the chin, though vowing vengeance. But in the next act she is to be seen once more about to be married to the same incredible bounder. He has npoiogized to her and has promised never to do it again. It was at this juncture that I| walked out on “Forsaking All Others,” since I felt sure that such a wise per- son as Miss Bankhead could not possi- bly have been foolish enough to take REMENDOUS technical resources were employed in producing “ Kong,” the R-K-O Radio | picture, which goes far to up- hold the cinema’s boast that there is nothing the mind of man can imagine which film cannot reproduce. | “King Kong,” more than two years in the making, fantastically juxtaposes | pre-historic monsters and modern man in a New York City setting—one against | the other in an epic struggle for supremacy. From a purely technical point of view, the film is the most difficult translation of an idea into a motion picture struc- ture yet attempted. These salient facts | will make that point clear: | ‘The production shows pre-historic monsters fighting each other and re-| creates the sounds they must have made while living. A giant ape, 50 feet in height, is seen hurling automobiles at steel buildings and making his last stand against civil- ization atop the tower of the tallest edifice on Fifth Avenue in New York. There this glant anthropoid, “King Kong,” with a fragile young woman in its paw, none other than the Hollywood Dancing Ray RAY BOLGER, Earle this week. . Who headlines the stage bill at the another chance with so mean and ir- resolute a de<erter. For the benefit of those readers who have not seen and who may not see Miss Bankhead either in person or in Miss Tallulah .the drama, I shall report that at the Times Square Theater she is one of the stage's major sorceresses. The niece of a Federal Senator, the daugh- ter of a member of our House of Com- mons, she inherits the art and the magnetism that have made the Dixie Bankheads what they are today. She is lovely to look upon, and honestly tricky in her technique, even when she lifts her skirts and turns an undignified New York handspring she impels you to say that “this is the life.” Glamorous, | clairvoyant, mystic and obvious, she is as Shakespeare's lady in “The Winter's Tale”—more worth than any man, the rarest of all women.” Miss Peggy Wood, who, like her and also recently returned from a success- ful embassy to London, celebrates her homeccming in a restful comedy en- titled “A Saturday Nigint.” In thie Miss Wood invigorates the role of faithful but tempted matron, who, & dicted to her husband and her chil dren, is still rot deaf to the pipes of Pan. She, in Miss Wood's impersona- tion, has the appearance of a woman of 29, unwrinkled, smiling and with a sense of humor despite the fact that she has a female child old enough to £0 cut and get drunk. On this Satur- | day night her husband loses a job, her son breaks a bone in a basket ame, her ingenue daughter comes home, her husband's best friend kisses her and she does not much resist Throughout all these complications Miss Wood enacts a subtle combination of nun, matron, woman-of-the-world and ordinary human be “A Saturday Night” is a fair comedy, acted fairly by Miss Wood and her company, and its author, Owen Davis, has reason to in- clude it among the prouder items of his Tepertory. 'The greedy stage unions may be shutting up these plays with all the others &s this is belng written. One hopes, however, that, inspired by the workingman's noterious spirit of chival- ry, they will permit the ladies of the drama to proceed with their interpre- tations without mercenary interrup- tions. A Giant Anthropoid screen star Fay Wray, fights a squadron of Army pursuit plancs remorselessly pumping bullets into its In a futile, but magnificent gesture, it plucks | a plane out of the air and hurls it mto the streets below. ‘The process for making “King Kong" required the ultimate in precision craftsmanship. Never more than a total 20 feet of film could be photographed in the best 10-hour day, so laborous was the task. The chief problem involved | was how to place the monstrous ape in association with human beings and ani- mate them all against the moving back- ground of a bustling city. The fight to the death between a brontosaurus and a tyrannosaurus (the combined weight of these creatures is estimated to be 100 tons) was difficult enough to tax the inventive powers and ingenuities of technicians, but this was simple compared to that scene which shows the ape, with struggling Fay Wray in its grasp, wringing the neck of a pterodactyl—a mammoth fiying reptile. Then, too, many of the scenes, par- ticularly one in which the ape fights the air armada atop the skyscraper, are made up of four distinct camera shots merged into a composite timed to & lplll: rsecond. ew years ago the story of “Ki Kong” would have been lmpuubleu:)‘; filming. The technical growth of the mottion picture has been astounding. Twenty years ago the public was startled upon viewing its first ghost in a D. W. Criffith film photographed by Billy Bitzer. Three years later, Grif- fith introduced the close-up and it was booed in the theater, only to be adopted as_a popular technique. The industry has reached a stage of perfection today where it pridefully boasts that it can reproduce on film whatever is conceived in the mind of n. man. The idea which started “King Kong” on its way originated in the minds of the lll}e.figg:r i l:ulndwl;ltgfiln C. Cooper, erdurer-producer Ern B. Schoedsack of "Oxrlu" and “Chlnlu"‘ ong.” New Screen Combination. THE newest starring screen combina~ tion will be that of Spencer Tracy and Sally Eilers, who will be jointly fea- tured in “The Lady Cop,” from the novel by Judith-Ravel. This story con- cerns & young, wealthy welfare worker who gets a job on the force as a police-