Evening Star Newspaper, March 3, 1935, Page 51

AMUSEMENTS. THE SUNDAY STAR, WASHINGTON, D. C, MARCH 3, 1935 —PART FOUR. AMUSEMENTS. STAGE AND SCREEN AND THOSE WHO PLAY THERE Birth and Steady Growth Of the Screen Color Ideai Former Musical Star in Film Version of “Roberta’ The First Picture in Natural Tints and the] Coming Production of Men Bring Newes “Becky Sharp™—Four t Change in Films. By E. de S. Melcher. NASMUCH as this department ing thing in the motion pict I timely. formerly associated with the believes that “color” is the com- ure industry, the following story written by Paul Snell of Hollywood seems both interesting and Mr. Snell, one of Hollywood's younger writers and Metro-Goldwyn Co., is another one of that ever-increasing group who thinks that Ycolor” is not only just around the corner, bu corner. He is now associated with Pioneer Pictures, Inc. as follows: THIS is the story of a soldier of fortune, a professor of chemistry, & designer of stage sets, named Whitney—and a sistent idea. Ten years ago, in the Fall of 1925, Merian Caldwell Cooper. film pro- ducer, director, cameraman and sol- dier of adventure, appeared suddenly from out of the tangled mass of dank Malay jungle, dragging with him sev- eral tin boxes containing a number of reels of exposed motion picture negative. The film was “Chang,” which proved to be probably the most | amazing and by far the most success- | ful wild animal story ever projected upon a motion picture screen. For 12 long months Cooper and his co-partner, Ernest Schoedsack, had made the tangled, tropic thicket their home. Twelve monotonous months of drudgery and deprivation, with nothing to do but work and dream. And the harder he worked the more Cooper dreamed. What a pity that “Chang” couldn’t be created in natural colors a shame that the real beauty of the jungle couldn't be transformed to the screen in its true state rather than in its drab gray. Each time he looked into the ground-glass screen to check the focus of their solitary camera the fact was brought home to him with greater force. Some day, he decided. he would make a picture in natural colors. And thus the persistent idea was born. very per- EN years ago, in the Fall of 1925, Dr. Herbert Thomas Kalmus, scientist, business man and former professor of chemistry at the Massa- chusetts Institute of Technology, was cloistered in a tiny Hollywood lab- oratory, where, with a group of his inventors, he labored to improve an idea conceived in 1915, an idea to put color into motion pictures. The name of the laboratory was Technicolor. It was started by a group of physicists who were grad- uates of the Massachusetts Institute. ‘Technicolor was still a young com- pany, comparatively unknown. Its first commercial picture, “Toll of the Sea,” starring Anna May Wong, was made in 1921. Unfortunately, Tech- nicolor had only been able to create a two-color process which was far | from perfect in its color-producing function. Only two colors were regis- tered on the film—red and green. It is not possible to get an accurate | reproduction of all the colors in the spectrum when only red and green are used. A certain shade of blue s, for instance, impossible to cap- ture. And blue is one of the three component colors that go to make up all other colors. Thus it was that in the Fall of 1925, in his tiny laboratory in Holly- wood, Dr. Herbert Thomas Kalmus and his handful of technicians were laboring to bring their process to perfection. TEN years ago Robert Edmond Jones, artist, poet and a mas- ter designer of stage settings. took over the Greenwich Village Theater for the production of better stage plays. With him was Eugene O'Neill, the playwright, and a young pro- ducer, Kenneth Macgowan. Jones saw in the venture an opportul™ to express his creativeness as he hal never before been permitted. To the ‘people on the stage Jones was always known as a master of light and color, & craftsman as well as an artist. Shortly before, he had done the settings for the production of “Ham- le starring John Barrymore, in ‘which Barrymore played more con- secutive performances of “Hamlet” than had ever been done before. Now Jones, with O'Neill and Mac- gowan, was going to create the the- ater which lies in the back of the mind of every artist of the stage. Now, for the first time, he was going to be able to express himself as he felt, to rise to the top of his power. EN years ago John Hay Whitney was in his senior year at Yale University. Now let's jump back to Merian Cooper and his persistent idea. It is still the Fall of 1925. Cooper ‘has returned to America with his be- Joved “Chang.” The negative is final- ly developed, cut, edited and printed. At its premiere in New York it is acclaimed by audience and ecritics slike. For his next, Cooper plans a color fcture. The picture most certainly ‘ must be done in natural colors. But after weeks of planning the idea is abandoned. Color photography is not it far enough advanced for so dar- 2 venture. It 1s now 1928. process has improved with leaps and | bounds. Much of the fuzziness and blurriness that marked the initial eolor trials has been eliminated. L True, it is still only a two-component - process, but the colors are better set. Sound has come in, “The Jazz Singer,” “The Lion and the Mouse,” “In Ol Arizona,” “Interference.” To ~ Cooper 1t is significant that color in “motion pictures is all the more neces- sary. *“Galloping gray ghosts that it eerle-like over the screen and talk cannot by themselves long endure.” One of the men who listens is Jesse Y. Lasky, whose organization, Para- mount-Famous-Lasky, has released “Chang.” For hours on end Cooper pours his color enthusiasm into Las- ky's ready ears. Lasky has been sold on color, but color in a studio and color on location are two different things. After weeks of debate, it is .finally decided to wait a while longer. Again the persistent idea suffers a set-back. However, Cooper has lost none of his enthusiasm. Comes the day when Warner Bros., still happy over their success as the sponsors of sound, take up technicolor as the next great” motion picture advance. Immediately other producers follow. Technicolor tries hard to keep up with the rush. The little laboratory of Dr. Kalmus and his associates _becomes a beehive of feverish ac- tivity. Night and day they struggle ~in an effort to supply the ever-in- ‘The technicolor a fellow | What | t almost all the way around the He writes Hollywood has rushed headlong into something it knows little about. The result is that many of the pic- tures are mediocre or bad. The pub- lic recognizes bad color and fails to respond at the box office. And the great color splurge flickers feebly for a moment and then dies as suddenly as it has been born. UT there is still Cooper to be reckoned with. He realizes from | the start, as color film after color | film is hurried through its produc- | tion stages, that such a sudden rush | | has boomeranged. too enthusiastically. Two years pass. Then three. Finally, in 1932, Dr. Kalmus, who has lost none of his enthusiasm, an- nounces to an uninterested world that a three-color process has finally | been perfected. For the first time | true color can be reproduced. But nobody, except Cooper, seems to care. Finally Walt Disney, Mickey Mouse and Silly animated cartoons, sees a sample of the new three-color process. He likes it immensely and begins using color in his Silly Symphonies. The third or fourth to be produced is a short subject called “The Three Little * It i1s not only immediately successful; it is sensational. Merian Cooper, then a producer |for R-K-O, sees one of the Silly | Symphonies and knows, then, for the first time, that the day is close )al hand | re-enters the scene. |that Pioneer Pictures be organized, creator of the Symphony |can work harm. His persistent idea | It has caught on| At this point John Hay Whitney | It is agreed | | with John Hay Whitney as president | and Merian C. Cooper, upon the com- | pletion of his commitments to R-K-0O, | as first vice president in charge of ‘a]I production. Until then he is to act as color adviser for Pioneer, | Meanwhile, Kenneth Macgowan is borrowed from R-K-O to act as active | producer. And so, after 10 long years, the persistent idea is finally taking form. It is then immediately apparent to Whitney, Cooper and Macgowan that the success of color depends upon synchronizing the music and the scenes with the color itself. | Here is where Jones enters the i picture. All three men know Jones |and are familiar with his reputation |as a master of light and color. He is sent for from New York and in co- operation with the technicolor tech- nicians he conducts dozens of eéx- perimental tests with make-up, with backgrounds and with changing light- ing effects. Both Cooper and Jones observe that in most past color films the entire picture is flooded with white light, just as in black and white photography. It is their plan to project colored lights on the objects | photographed and thus build addi- | tional emotional value from color. In other words, for intense crimson action. crimson colors will be used, and for quiet, pastoral scenes they will overlay the picture with delicate pastel shades. The first picture to be produced by Pioneer is “La Cucaracha,” the pic- ture which today has played to more business than any black and white short subject ever made. The second vehicle, “Becky Sharp,” is a full-length feature. Miriam Hop- kins is starred and Rouben Mamoulian is directing. Kenneth Macgowan is the producer. When completed, it will mark the first feature to be made in the new full-color technicolor process, although at present there are half a dozen others already in prep- aration in various studios around Hollywood. It is estimated that with- in three years—five at the most— black and white photography will be a thing of the past. Guild I;'Iays “}.‘!arbor Light." | ON NEXT Friday and Saturday eve- nings the Drama Guild of Was] ington will present “Harbor Ligh by Owen Davis, at the Wardman Park Theater. “Harbor Light” is a manuscript play | of Mr. Davis' which has not yet been the lives of several generations of & ship-building family and is replete with dramatic situations. The locale is the Maine coast, and the charac- ters are typical Yankees. Esther, the matriarch of the family, will be played by Ailene Sanford. Her two sons will be played by Denis E. Connell and Harry A. Westcott. Others who will appear in this production are Francis Brunt, Lucille Fisher, Francis Koonce, Elizabeth Sypher, Helena Cook, Betty Brunstetter, Jane Plum- mer Rice, Frederick V. Rand, Audrey Bernhardt, Paul Bradbury Walter, | Betty Owens, Arman Bakshlan, Wilda Kilbourn, John Sikken, Thomas M. Cahill, C. Murray Bernhardt and Ruth Perrott. L. W. Currier is directing, and the sets are being made under the super- vision of Frances Hand. Tickets may be secured at the T. Arthur Smith Bureau, 1330 G street northwest, —_ Nora Ford at Gayety. 'HE Carroll Sisters are the featured performers with “Brevities,” the latest output of the I. B. A. burlesque wheel, coming today to the Gayety Theater. The comedy end of the entertainment is taken care of by Bobby Vail, eccentric “Dutch” come- dian. Others include Loyd and Mur- ray, Eddie Loyd and George Murray; Bert Saunders and Art Gilson, John D'Arso, Dorothy De Haven, Marion La Mar and Joan Dare. | _The extra added attraction is Nora | Ford. R — Mickey in Color. THEATERS throughout the country are celebrating now, or will soon celebrate, the most important change in the career of Mickey Mouse. Walt Disney’s famous creation will be seen for the first time in all his colors. The vehicle that will introduce Mickey and his cohorts in their true hues is “The Band Concert,” a new Walt Disney production, made entirely in Technj- lor. It is released through United produced professionally. It deals with | CGINGER ROG E\ Broadway star, pIa\t opposite h’rd AS(SH‘P in R K- Os elaborat e prc RS, ction of “Roberta,” “Lj Axglon Commg “]HEN the curtain goes up on the | Le Gallienne production of | “L'Aiglon” (“The Eaglet"), Clemence Dane’s new version, at the National Theater, which will play there the| week of March 18, it will disclose the | salon of Marie-Louise, Duchess of Parma, former Empress of France, at Baden. The room is in the style of the first empire, all lightness and ele- gance. Marie-Louise is seated at the piano. As the play continues Eva | Le Gallienne will make her entrance as the Duke of Reichstadt, and from then on this surging drama will tell the story of the famous young pris- | oner of Austria, son of the great Na- poleon, desired by one party in France, undesired by another, and feared by all Europe. The title of the play was suggested to Rostand by a verse of Victor Hugo's: “The English captured the eagle and the Austrians the eaglet.” | The production abounds in famous | personages. Aside from Miss Le Gal- lienne, Averell Harris will be seen as | Prince Metternich, chancellor of Austria; Sayre Crawley as the Em- peror of Austria, Leona Roberts as | an Austrian archduchess, Walter Beek as Count Bombelles, Florida Freibus as Fanny Elssler, Donal Cameron as the attache from France, Marion Evensen as the Countess Camerate, niece of Bonaparte, and Merle Mad- dern as Marie-Louise. The settings for “L'Aiglon” have been designed by Aline Bernstein. Richard Addinsell, the English com- | poser, has written a special musical | score that has been synchronized to | follow the grval moments of the play. | ] T IS becoming more apparent as the film production season matures that Claudette Colbert and Fred Mac-j Murray will wind up the year as one of the most successful player teams. | They were together first in “The| Gilded Lily.” Now Paramount has as- signed them to opposite leading roles in “A Bride Comes Home,” a picture which will be based on a story from Liberty Magazine. TOWN HALL_ March 3rd WILLIAM GREEN™ President, American Federation of Labor “What Does Labor Want?” Shoreham Hotel Admission $1.00 recital at Constitution Hall this THOMAS Has Been Cancelled ! “Constitution Hall, Next Tues. Aft. 4:40 H GABRILONITSCH L PADING::. u.llomy‘v.ll'l.l (Droop's) NA. 7151 N, 2 NEW HO"yWOOJ Team. [ F ‘Middle Age and the Mov1es HEN Walter B. Pitkin wrote y “Life Begins at Forty,” the | sheer title served to shake | the foundations of the | legends rotating around W youth. It has been one of the firmest preju- dices in n.otion pictures that only the | fresh che>ks and slim bodies of the 20s are attractive; that gathering vears meant disaster to an actor or an | actress. Study of film statistics, however, ! prove conclusively that the great ones were eithor failures until they had passed 40. or at best hadn't launched into more than a very slow start. Wallace Beery made “Min and Bill” the latter part of 1930, his 40th year. It made him a star. Previously he had many ups and downs. By 1930 | there wers many who predicted his | absolute fnish. He expects to cele- | brate his 46th birthday anniversary, April 1, attending his latest star pro- duction, “West Point of the Air.” It finds him “tops,” rated in exhibitor | g;:xlrlls as the leading male draw of | George Arliss was not made a stage star until he was 40. Previous to that time he had grown so discouraged in England that on several occasions he contemplated quitting the profession. This year, at 67, he will be a candi- date, with Beery, for best film acting honors of the year 1934, as decided byv the votes of the Academy of Motion | Picture Arts and Sciences. _________DANCING. PRCF, ana MRS. ACHER—31(h Yr. Studio. 1127 i0th St. N.W. Class and Dancing ever: riday, 8:30 to 11:30 p.m.. with Orchestr; Private lessons by appointment. Met. 4180.’ EDW. F. MILLER STUDIO 811 h St.—NA. 8093. danced, we unn it. Leroy H. Thayer STUDlOS Washington’s Foremost School of DANCING Mid-Season Classes Now Forming Ballet, Tap, Musical Comedy, Acrobatic and Ballroom Dancing Day and Evening Classes Adults and Children Private Lessons by Appointment 1226 Connecticut Ave. MEtropolitan 4121 | Mark.” ‘When Lionel Barrymore reached 40 he was not at all satisfied with his ca- reer. He had had some bad breaks, and was regretful that he had given | up his other profession, for acting. sensational hit in “The Copperhead,” his present stardom. Lewis Stone was only a reasonably successful stock leading man on the | | Pacific Coast when he was on the rim of 40. had their tryouts in Los Angeles, “The Bird of Paradise” and “The Dollar They brought Stone to New York. to New York stardom and back to Los Angeles as a picture star. Jimmie Durante had arrived at the hither side of 40 when he first popped out of obscurity. Now he rates as one | of the best-paid comedians in acting. May Robson, 50 years on the stage, | | never really achieved wide fame until | she was 40. She was at what is mis- takenly regarded as the “downhill” point of middle age when she shot up- ward like a comet as the star of “The Rejunvenation of Aunt Mary,” the most successful single play ever pre- sented by a star anywhere in the world. GAYETY BURLESK Starting This Sunday Matinee “NORA FORD” The Gal from Georgia in"VANESSA®. her MN:?OS ka *CASINO DE PAREE’ REVUE Gmicg. CLAUDETTE COLBERT n'Ghe GILDED LILY" Robm son Play Scheduled HE FAR-OFF HILLS,” an adapta- tmn of the stage play by Lennox { Robinson, will be added to the Metro- Goldwyn-Mayer producing schedule | for the current year. Howard will direct this drama of rural illustration, | Ireland, and Maureen O'Sullivan, last But at 40 he made his | seen as Dora in “David Copperfield,” | will have the principal role. The cast | the impetus of which carried him to | | Franchot Tone, Charles Butterworth | also will include Constance Collier, | and Lewis Stone. | Complete “Follies Bergere. But along came two shows which | « 'OLLIES BERGERE,” starring Maurice Chevalier, with Ann Sothern and Merle Oberon, has been completed by Darryl F. Zanuck at the 20th Century Studios. Miss Oberon, who will also soon be seen opposite Leslie Howard in Alexander Korda's production, “The Scarlet Pimpernel,” | is now in New York for a two-week | | stay prior to her return home to Lon- | don. Both “Folies Bergere” and “The Scarlet Pimpernel” will be released through United Artists. NATlONAL R;! Mar. 16th, 10:30 5 he Children’s Theatre presents ALCOTT'S “UNDER THE LILACS” with “Sancho.” the trick dor _and Original New York Cast %m IS"'nO NO WEEK..! LESLIE HOWARD and MERLE OBERON in “THE SCARLET PIMPERNEL™ Comine FRED ASTAIRE GINGER ROGERS IRENE DUNNE Frotare ot 30052574510 10- KAY FRANCIS lemg on Velver GEORGE MIII-HARR(I WILLAM DORSEY BROS. % TI'JEIR OREHESYPA . MHIROPOLITay Frotuns o 2003505 40740930 DEVIL DOGS OF THE AIR uusun-v'uvou-a mAROAST LANDLAT - RANK AN William K. | ’¥Listing the Best Sellers ;AmongNewYorkTheaters Several P]ays That Are Attracting Special Attention—Ex-Critic of the Drama Speaks Against Cinema—New Book on Theater. By Percy Hammond. M EMORANDA of recent more or less important activities on the platforms of Longacre Square: “Times Have Changed”—Louis Bromfield, a best- selling American novelist, takes a grim French play by Edouard Bourdet, author of the banished “rhe Captive,” and turns it into a first-class United State | knowing and impecunious girl (Miss Elena Marimova), | prospective riches, weds a millionaire imbecile. | of that union are appalling. Mr. ingly with the assistance of actor: s drama. In it a charming, un- dazzled by The consequences Bromfield tells the tale unrelent- s who are the best the market af- fords—Robert Loraine, Miss Cecelia Loftus, and others less known but fully as competent. “Noah."—A French satirist’s idea, of the big rain and what happened on the Ark during the forty days of the deluge. Pierre Fresnay, late of Noel Coward’s limp “Conversation Piece,” plays Noah in a way that will cause you to smile proudly. “The Distant Shore.” — Roland Young in an impersonation of the no- torious Doctor Crippen. a ndol uxorcide, who killed his wife and ran away with his private secretary (Miss | | Sylvia Field). Interesting in spots| | | and dull in others, it is not, unless you | are a specialist, worth coming to New | York to see. “The Bishop Misbehaves"—In which ‘Walter Connolly, a favorite actor, pre- tends skillfully to be an amateur sleuth in a clergyman’s vestments. A ridiculous hold-up having been com- mitted in a desolate English bar room, | the bishop becomes a ferret and runs down the criminals. The play is fairly so-so, and Mr. Connolly is very good, indeed. “Awake and Sing.”—A product of the up-and-doing Theater Group. possible successors to the weary, not senile, Theater Guild. Telling a drab story about the every-day un- happiness of a Jewish family in the Bronx, the play, by Clifford Odet, a prudent revolutionist. is a quiet, hu- morous and accurate semi-tragedy, well explained by the author and well illustrated by a talented cast. I VENTURE to reproach Prof. Walter Prichard Eaton, dean of the ex- drama critics, for what seems to be an old guard selfishness in his desire to eradicate the cinema from the stage. At the National Theater Con- ference in New Haven last week Prof. Eaton denounced the motion picture as a tumor feeding upon the brains of writers and actors and interfering with the growth of the art mimetic “The movies,” he exclaimed. “grab off players and young dramatists as soon as they have had just enough prac- tice to indicate the possesion of some talent. This is the end of their artis- tic growth.” Unless something is done. he argued, the creative springs of the drama in America will dry up. In that uncharitable attitude Prof Eaton forgets that this is an era of benevolence, a time when the general objective is the greatest good for the greatest number. Generosity is the spirit of the age, and men vie with one another in sacrificial deeds of kindness. He should be reminded that the cinema is the theater of the people; and that to deprive them of it for his |own benefit would be, so to speak, | hoggish. Thousands upon thousands of the so-called masses are enabled, for instance, by the cinema’s scheme of redistribution to enjoy munificent programs of music, drama and |he ballet, not to be duplicated in any old-fashioned playhouse at many | times the price. ‘ \WHEN, not long ago. it was an- nounced that Joseph Verner RA’?K‘] young, solvent, sentimental and esthetic, was coming down from Yale to produce plays on Broadway. drama lovers took hope. His pockets were lined with a Denver fortune, his am- }biuons were meritorious and he was | more than usually intelligent. It had | been his parents’ intention to make him a capitalist, but sordid finance CONTINENTAL % REVUE Auspices A. F. @. E Sick Benefit Association \ s'.n of Radio Networks \ and Motion Pictures Danclng to Famous Radie Sai.. Mar. 16 /5 50c \ Washington Auditorium Ny | Opv “HITE HOI Band after show. N Tickets at Droops & Kitts Cont. from 2 LION FEUCHTWANGER He was one of those strong silent pen dictator He mad self a He ruled rulers. But strong men can be so weak—when soft. arms white, clinging em- > brace them Women's Hearts Were His Stepping Stomes 1o Power CONRAD VEIDT BENITA HUME - FRANK VOSPER Directed by LOTHAR MENCES by Gaumont British A & Produc n | Night i), did not appeal to him as did the ro- mantic show business. So he resigned his position and began a serious and expensive flirtation with the drama. He formed a partnership with Ken- neth MacGowan, now of Hollywood, but then a foremost critic and disciple of the stage, and set about doing worthwhile things in a worthwhile way—Miss Jane Cowl in “Twelfth Miss Mary Ellis and her hus- band, Basil Sydney, in “Children of Darkness,” and a cargo of plays and ‘plx\vrs from Great Britain. | The MacGowan-Reed, Ine, enter- | prise, though gallant and chivalrous, | went down in a sea of disappoint- | ments. Its successes were failures. | The longer the run and greater the | receipts the larger were the losses. | Finally Mr. Reed, his Colorado an- cestry asserting itself, paid all its | debts, called it a day and withdrew forever from participation, except as an onlooker, in the art of the theater. * * * His experiences as an innocent Rocky Mountain Yale man with the Broadway show racket are now re- counted in a fascinating book called “The Curtain Falls” (Harcourt, Brace), a volume that should be in the re- quired reading of all college drama curricula Mr. Reed has got back at the art that double-crossed him and he has done it in as wisely amusing a book as was ever written about the New | York stage. Sunday Movies Barred. Harrow, England, has voted, 8761 | to 7,949, against Sunday movies, ACADEMY O Periset Sound Fhotonias E_Lawrence P Theatre Beautifu ee. P.M. 5 STR"&ES TWICE " CLARENDON. VA. KD AL f n_“KID MILLIONS " CAROLINA SERVANTS ICE '\IYSTERXOL‘S Rt \‘o G CIRCLE e e AL Ry g Kiang e kY Ok R BET ™ "“s0n 1 Dufl?flgo" 1343 "'Eh":sx& RT MONTGOMERY in ‘?OflSAKHsG ALL OTHERS.” Metro- ‘FA]R]_AWN 'ANACOSTIA. D. G | SHIRLEY TEMPLE in 'BRIGH EYES" PRINCESS .. Doun 112, H St A le Feature (Matinee, ‘ TVLFE‘I: I—JL\{“\{Y DL'RANTEnm ATNING STRIKES TW B cEroN 1 8244 Georsia A Sillu svr I'I..' M P R KIS TER » News.Comedy. STANTON 6th ana C 8ts. NE. Finest Sound Eauipmens ontinuous From Matinee. 200 wfim‘m YOUNG_ JOHN OLEg s HE WHITE PARA i EDWARD ARN WEDNESDAY 8 CHILD * STATE opro Wisea52™ pitinis” Bethesds. M ORGAN CONC 2:3 0 DouS R Feutare Frescatation re Presentation VIRGINIA, BRUCE ‘and COLIN CLIVE n “JANE E a Also CAROLE w\lBARX‘RiEY ROBSON “LADY BY CHOIGE.” TAKOMA 4th and | BII“Q"!I' Sts, No Parking Troubles Sonotone wicpioment for the Deat __“COUNTY CHAIRMAN.” HIPPODROME ¥ Mesr ot Today-Tomorrow-Tuesday, EDDIE CANTOR in “KID MILLIONS.” Cont. 2:00 to 11:00 P.M. MT RAINIER_WD. CAMEO YT, Mmuee o SHIRLEY TEMPLE in “BRIGHT EYES.” 00 to 11:00 P.M. A Today- 'r{z';n"o!rm‘:n' Girl of the Limberlost.” Cont. 2:00 to 11:00 P.M., ATEXANDRIA VA RICHMOND *.EXANpRis EDDIE CANTOR in" “KID MILLIONS.” ARCADE 5o7KVIEE wm EDDIE CANTOR in “KID MILLIONS.” AMBASSADOR .13 55,3, Direction of SlDNEY LUST Col KAY FRANCI: uvmnc & (;,!;::ORGE RENT in APOLL) oo B scwe SHIRLEY TEM . ClrluoPnLE in “BRIGHT Conn. Ave. an McKiniey 8¢, Ngv AVENUE GRANDp. Ave sE Matinee. 3:00 EDDIE CANTOR i JONS™ _ Cartoon. WARNER BROS. 'l'l-iEATERS KID MIL- 5 AVOYmT:)" S8 LR N LYLE TALBOT Jin “MURDER IN THE rel and Hardy. ll 8. & Park Bd. N.W. WARNER BAXTER MYRNA L “BROADWAY BILL." (.‘lA OY - lnl— o | JESSE THEATER "% “HERE IS MY HEART,” BING CROSBY. Comedy. _Noveity. SYLVAN o &t amww “BABES IN TOYLAND,” STAN LAUREL and OHVIR HARDY. —_Comedy. Noveity. PALM THEATER "'tl“