Evening Star Newspaper, September 19, 1936, Page 6

AMUSEMENTS. “Nine Days a Queen” Hit Film at the Earle Popular English Film Makes Local Debut With Nova Pilbeam as Lady Jane Grey— “Cuban Follies” on Stage. BY E. de S. MELCHER. HE fact that her name is Nova Pilbeam should not discourage you from seeing this talented young lady in “Nine Days a Queen,” at the Earle. Miss Pilbeam’s name seems to discourage certain movie fanciers. Since she isn't a West, a Crawford, a Garbo or a Patsy Kelly a great many péople believe that she must either be a horze, a tonic or a drug. The fact that she probably some day will be England’s greatest actress has very little to do = with it. When your great-great aunt rises out of her evening’s rice-pud- ding and says to the children: “Come now, let'’s go to see Pilbeam,” there is apt to be a silence as heavy as mutton. Nevertheless, if great auntie doesn’t persuade you to go and see little Miss Pilbeam this week she, and you, are crazy. Frankly, “Nine Days a Queen” is everything that “Mary of Scotland” wasn't. It has dignity, charm and great personal appeal. While it is not a hilarious evening in the theater, it is something which you will regret having missed. And it hasn't that rich, heavy, historically wooden atmosphere which, to us, destroyed what in “Mary of Scotland” should have been a greaty: motion picture. If you saw Nova Pilbeam in “Little Friend,” you know that her face is the most honest face in pictures. The brow is broad, the eyes are wide apart, the mouth is sensitive and the hair is light and invariably arranged at its best. Although she is only 18 years of age, she plays her scenes with a mature judgment which is nothing short of amazing. And when in that final bit- ter chapter she goes to the chopping block and sacrifices her head for the sake of government and history, it is not hard to see why there is scarcely a dry eye in the house and why you definitely know that as soon as she comes to town again you will be cer- tainly at her elbow. The story of Lady Jane Grey in this tragic little yarn of Edward the Eighth's offsprings is told with a fidelity that puts to rest the rumors that no motion picture can be ac- curate. Even those who doubt that Mary Tudor paid a surprise visit to Jane in her dungeon cell and believe that this scene has been based on a similar incident in Maxwell Ander- son’s play (When Elizabeth barges in on Mary) will find that the authors have been right. History comes out as bright as a penny and the actors interpret their respective roles with | skill and understanding. Besides Miss Pllbeam there is Cedric Hardwicke as the Earle of War- wick, John Mills as Lord Dudley | (Jane’s husband), Desmond Tester as the young Kink Edward and Sybil | Thorndike as Jane's companion Ellen. And it would be hard to choose which is the best. Possibly the young King— there, at any rate, is a young actor | who will someday grow up to great | thincs. Even now he’s head and shoulders above others of his clan. | Each of these talented actors con- tribute their bit towards making this one of the most interesting films of the season. Be sure that you see it! The stage show is a colorful affair this week called “Cuban Follies.” 1t stars Ciro Rimac and his orchester, Singer Tito Coral who is in excellent voice, the always welcome Don Zelaya, Joe Arena and company and 16 South American beautles, who happen to be just that. It's a sprightly carnival of fun and music which you will enjoy‘ Nava Pilbeam, however, tops them all and that, at 18, achievement. Miss George to Achieve Fame, Director Predicts BY SHEILAH GRAHAM. found a new screen star. H cry.” OLLYWOOD, September 19 (N.A.N.A.).—Director Wesley Ruggles has “She has a broken voice, harsh and rasp- ing, and a pair of airedale eyes that look up at you and make you In other words, Gladys George, who scored a tremendous triumph in the stage version of “Personal Appearance” and is now making her Hollywood starring debut in the for Carrie.” “When the picture reaches the public, I predict Miss George will be hailed as a new star. The picture 1s the best I've directed, and Miss George is just a little bet- ter than the film” Ruggles engaged the actress for the part of Carrie after testing or trying to get every big femi- 4 Sheilah Graham Miss George was appearing in “Personal Appearance,” and signed her there and then for the difficult role. “For the sake of picture morality, I had to change the ending of the story—Carrie will be punished for her misdeeds, but this does not af- fect the picture. If it is unsuccessful, you can blame me. But don't for- get—if it is good, you can blame me for that, too!” it During his 19 years as a prominent member of the picture industry, Rug- gles, brother of comedian Charles, has developed and discovered many of the screen’s top-notch stars. Fred MacMurray owes his present promin- ence to the director, who risked an tmportant picture, “The Gilded Lily,” starring Claudette Colbert, by giving the then unknown actor the leading masculine role. “Pred was terribly nervous. He didn’t know what it was all about,” said his discoverer. “But he proved my judgment was right. He was helped a great deal, naturally, by appearing Wwith Claudette Colbert. Miss Colbert has brains, is pliable, knows her business, and has a great sense of dramatization.” * X X % The plump Jack Oskie was dis- covered by Ruggles ‘way back in 1928 and given an important part in “Finders Keepers.” “He was thinner in those days,” commented the di- rector. “But then, as now, he never worried. In some ways, he reminds me of a nice-dispositioned, contented cow.” Ann Harding, whom Ruggles di- rected in “Condemned,” is not particu- larly easy to get along with. “She insists on every one treating her as ® super star. However, I succeeded in breaking down several of her lofty notions of histrionics, for which I have been thanked by subsequent directors.” Ronald Colman is a reticent, bashful individual, who is somewhat of an enigma to his director. According to Ruggles, “there is no warm response to instructions—however, in the final analysis, he comes through with ster- ling performances, which, after all, is what counts.” * % k x Of Richard Dix, the man who di- rected him in “Cimarron” had this to say: “He's a swell guy. He does not profess to be a Charles Laughton, but nevertheless can give a per- formance that will match the best of them—as witness ‘Cimarron.’” Ruggles enjoyed directing Irene Dunne in the same picture. “She is & hard, indefatigable worker who gives her all to achieve the best results.” Carole Lombard—Her pictures for Ruggles include “Bolero” and “No Man of Her Own"—"is & real pal and @ good soldier. She will act as prop boy, if , in order to assist book best-seller, “Valiant is the Word Met. Takes Anthony and His Public Allen Story, A La Hollywood, Set for Long Run. BIT farther downtown but still away up in public interest, Anthony Adverse swung into its second week locally at the Metropoli- tan Theater last night. As in the case of Hervey Allen’s 1,270 page book on which the film is based, it looks as if it would be a long time before Wash- ington is through with the Hollywood transcription of M. Adverse’s story. Like the book, the film is long— more footage for your money than you are likely to get in a long time. But, in spite of its length, there are those who will say that the Warner Bros.’ version of the work has the aspects of a synopsis; that it is sketchy and that it twists into bypaths which amount to a distortion of Allen’s story. All these allegations are true but they ignore the circumstance that the Hollywood medium for telling the story is quite unlike that of which Mr. Allen made use. If one's iavorite episode, therefore, is missing from the film, one might reflect judiciously upon the fact that the transcribers were confronted with one of the most monumental editing tasks ever under- taken. To state the case succinctly, Hollywood takes 2 hours and 15 minutes to tell a story which Allen used years to write and the average American required months to read. If some of the incident is missing, it can well be forgotten in the knowl- edge that the essence and the mood of the 1933 best seller have been retained. Eighteenth century and Europe with its Napoleonic flavor is pictured quite as vividly as Allen painted it, and in far less time. The African slave trade episode in the career of the ad- venturous Anthony is narrated with far greater emphasis. The Cuban in- terlude, with the slave beating scene a highlight one is not likely soon to forget, comes to Adverse fans with nothing lost in transit. With so*many persons having lived for s0 long with the characters of the story (remember the months it took to read it?) those charged with the interpretation of the various roles labor under a tremendous handicap in conforming to every one's conception of what Anthony, Angela, Faith, Don Luis, etc., should be. Frederic March, looking a bit old as the adolescent Anthony but quite up to book specifications before the film is half over, deals with a huge and demanding part quite capably; Olivia de Haviland is an ornamental, if repressed and vocally imperfect Angela; Stefli Duna does Faith with finesse if not fidelity to the Allen character’s dimensions, and the is a definite | John Barrymore plays Mercutio and Edna May Oliver is the Nurse in the Metro-Goldwyn- Mayer film production of Shakespeare’s “Romeo and Juliet,” which tomorrow starts its third week at the National Theater. The picture is shown twice daily, at 2:30 and 8:30 p.m. only. Warner Baxter Is Star Of “The Road to Glory” some others. l Fredric March, June Lang and some wars.” The picture is pretty much Warner men with an iron will and makes them love him for it, who loves a handsome French lass and loses her through no fault of his or hers, and who goes out to die willingly, almost eagerly, when he feels he has notnng more to live for, Baxter again proves himself one of the more accomplished people on the Hollywood scene. The story of “The Road to Glory” centers principally around Mr. Bax- | ter’s captain and his career as the gallant officer who led his company into the trenches time after time, set- ting up an enviable record, and who, in the end, blinded by a wound and bereft of the girl he loved, went to an observation outpost to direct an artil- lery barrage, knowing full' well that he and his father, with him, were directly in the line of fire. * x5 LIDN!L BARRYMORE does an- other of his excellent acting chores 4s the father—a man who dyed his hair and lied about his age to fight for France. One of the best scenes in the picture {s his, in the moment where he is so overcome by blind terror out in no man’s land that he tosses a grenade at other members of his own scouting party. Fredric March, Gregory Ratoff and newcomer June Lang are the others principally concerned and they ac- quit themselves nobly. Arliss Film Is Feature At Belasco 'HE Belasco had a double reason for making the story of the Roths- childs its first revival this season. It again affords an opportunity to see George Arliss, who has too long been absent from the screen. And it is probably Arliss’ most successful “dress- suit” role. “The House of Rothschild” is the history of a great banking concern and the relation of five great bankers to the history of nations. It also tells the story of the tradition of a family and the’ tradition of a race. Twentieth Century has filmed the story of the Rothschilds with dignity, a few inaccuracies, the Arliss senti- ment, and a splendid cast. Arliss plays Rothschild pere, and is, of course, the eternal argument: Did N, R., Disraeli, and the other per- sonages Arliss has portrayed, really look like George Arliss? Does he use Arliss mannerisms in his parts? Or did they use Arliss gestures when they lived? These persons, long dead, prob- ably would have liked nothing better than to appear the way Arliss does when he interprets them on the screen. 8o say some fans. C. Aubrey Smith, happily cast as Wellington minus that gentleman’s profanity, blows and bellows with gusto. Helen Westley is splendid as a matriarch and Alan Mowbray and Boris Karloff sre quite satisfactory in their scenes. Loretta Young and Rob- ert Young as youthful romance tri- umphing over stock exchanges and pogroms complete the cast. The Belasco does its bit in making us music conscious, with a short in which Gounod’s Ave Marie is well played, and visually accompanied by the serenity of twilight scenes at Can- terbury. The rest of the program includes a . | couple of Irving Cobb’s favorite jokes gieaned from newspapers, and some Again Proves His Ability in War Drama at| Capitol—Anniversary Revue on Stage. T'S been a long time now since there was a war film to inspire memories of “Wings,” “All Quiet on the Western Fron Not that “The Road to Glory, Loew’s Capitol, if of epic proportions, but it is an exceedingly interesting and occasionally highly dramatic story that Warner Baxter, Lionel Barrymore, ground of the late “war to end allg- Baxter’s all the way through. As the | "y /'y ohq in making “The Road to French army captain, who drives his | )00 There's a ‘;m where Mr. | March sits banging at a piano while " “What Price Glory” and which yesterday opened at others enact before the bloody back- Director Howard Hawks has blended action, tense drama and humor with German bombs drop all sbout him | which, for some reason seems utlerly | hilarious, and Gregory Ratoff has| some fine moments, particularly the sequence where he and Barrymore blow an official order in to a fire so they can say it mever has been re- ceived, and the scene where he sits in a dugout being: mined by the Ger- mans and says, “Hah, we sit on a| mine and they send us steel hats for our heads.” The directorial deftness is noted, too, when Mr. Hawks/ wastes what seems like too much film | on s battle sequence, but you see his point when he breaks suddenly to & cathedral and the mood is heightened by s sharp contrast with the one preceeding it. * % k% Capitol celskrates its ninth anniversary (including eight years and eleven or so months as the Fox) with an attractive stage revue. There are dances by the Elida Ballet, in- cluding. & nice fantasy about six ballet dancers, with interpolations and a song by Lew Davie, and a clever “disappearing fan” number: there is comedy in abundance by Red Donohue and his mule, U-No, and there are ball room dances of the smoothest sort by Plorence and Alvarez, whose Nathan, eldest Rothschild fils. There | P scenes in Yellowstone Park—with Ma Nature’s'own sound effects. Or 30 the commentator says. MW bolero is & beauty. H. M Where and When Current Theater Attractions and Time of Shawing, Loew’s Capitol —“The Road to Glory,” ab 10:40, 1:30, 4:20, 7:10 and 10 p.m. Stage shows at 12:30, 3:20, 6:10 and 9 p.m. Palace—“The. Genperal Died at Dawn,” at 11 a:m, 1:05, 3:10, 5:20, 7:25 and 9:35 p.m, Columbia—"“Charlie Chan at the Race Track,” at 13, 2,4, 5:55, 7:55 and 9:50 p.m. R-K-0 Keith’s—"“Swing Time," at 11:5¢ am., 2:18, 4:42, 7:06 and 9:30 pam. “March of Time,” st 11:2¢ a.m., 1:48, 4:12, 6:36 and 0 p.m. Warner’s Earle—“Nine Days a Queen,” at 11-a.m., 1:35, 4:25, 7:1>ana 10:05 p.m. Stage shows at 12:4v, 3:3V, 6:15 and 9:05 p.m. Metropelitan—“Anthony Adverse,” at 9:30 and 11:50 a.m., 2:15, 4:45, 7:10 and 9:30 p.m. Belasco—“The House of Rothchild,” at 12, 2:05, 4, 6, 7:50 and 9:55 p.m. Little—"The Informer,” at 11:16 am, 1:21, 3:26, 5:31, 7:36 and 9:41 .m. Tivoli—Meet Nero Wolfe,” at 2, 4:05, 6:05, 7:55and 9: Readside—“Arizona, COMIC’S ‘BRIDE SUES LOS ANGELES, September 19 (#).— Ted Healy, film comedian, was sued for divorce yesterday by his wife, Betty Hickman Healy, former coed at the University of California at Los Angeles. The couple were married at Yuma, p.m. at 8:40 p.m. Charlie Chan At the Races, In His Latest Gamblers and Horses In Mystery at Columbia. moral of the latest Charlie Chan adventure seems to be, “Don’t be & race-horse.” For if you are a race horse the nasty gambling rings will get hold of you and will inflict upon you untold discomforts, such as letting a monkey you don't like, get in your stall, mak- ing you very nervous; such as blaming you for murder; such as building a fire in the hold of the ship in which you're travelling, so you can be switched with anothet horse; such as painting you all up s0 nobody will know the switch has ! been made; such as whamming you in the shoulder with a dart when you try to win a race anyhow. Charlie discovers all these things in | “Charlie Chan at the Race Track,” which yesterday opened at the Colum- bia, and which is an extiting enough and diverting enough whodunit to give you an hour or so of entertainment. Charlie’s first connection with the case of “Avalanche, Avalanche, Who's got Avalanche?” comes when the owner of the bangtail, a friend of Charlie's (the owner, not Avalanche, is the friend), 1s killed in the horse’s stall, on a boat en route from Australia to the United States. At Hawall, Charlle comes aboard, finds evidence that points to murder, and says Avalanche didn't do the deed. Then, in due course, he un- covers all this sleight of hand by which Avalanche and another race horse are switched by the gamblers and then painted up so0 each one looks like the other one did before. It is slightly more of a mystery why these poor, mis- treated steeds didn't die of painte: cholic before the big race than it is a mistery who killed Maj. Kent, because the murderer is a little more obvious than the criminals Charlie chases usu- ally are. Of course, Charlie may have known all the time and kept it & secret just so the picture would run the re- quired length. Warner Oland is, of course, the prin- cipal person in the cest, playing Chan with the same skill with which he used to play the cleverer Charlie Chan about whom Earl Derr Biggers used to write. The others in major roles are Keye Luke, Gavin Muir, Thomas Beck, Helen Wood, Alan Dinehart and Jona- “General Die Held Ideal Screen Plot|= AMUSEMENTS, d at Dawn” Film at Palace Made More Tense by Credible Motives of Leading Characters. BY ROBERT B. PHILLIPS, Jr. T IS often contended that/melodrama is the cinema’s most natural and, ore, its most effective form of expression. Essentially & medium of rather than ideas, of plot most sustaining wings when melodrama is given the gloss of charac- when character is infused with the further fire of purposefulness, argument, in a theory that seems to discover its perfect bulwark & the General Died at Dawn.” the familiar props of the “Shanghai Express” and Shanghai- this and Shanghai-that are present in the picture at the Palace this week, yet they have been wrought into a fresh mold, made more tense and moving by the injection of credible motives into the persons of the leading players. The tall, handsome lad (Gary Cooper), who smuggles muni- tions, is not an empty adventurer, but one who chooses to enrich and amuse himself by aiding the oppressed thou- sands in & Chinese province to over- throw their ruthless, greedy war lord. The sinister Gen. Yang, himself, is no meanie for the sport of the thing, but, because he has an abiding faith in a creed of self-worship, of his des- tiny as & great and powerful man. Even the heroine is not brought down from the stock shelf, being a moody young lady in decidedly unhappy straits when the tale begins, and emerging to embrace the perils of true love only after she has suffered a harrowing beating, emotionally and physically. Thus, while it adheres to the ada- mant principles of melodrama, wind- ing up with a benign “And so they lived happily ever after,” or some- | thing, this picture is no penny dread- ful. Dwelling patiently, and perhaps overlong, on the interesting task of developing its more picturesque char- acters, the scenario is compelled to finish in & burst of almost cyclonic action, during which the tables are turned so often as to resemble & merry-go-round, yet the integrity of personal temperament and proclivity is not violated even by a spasm of plotitis. Clifford Odets, the boy Trotsky of Broadway drama, makes his debut as a scenarist with “The General Died at Dawn,” and a major share of its virtues must be attributed to his treatment of the original story and to the vivid direction accorded by Lewis Milestone. Mr. Odets is a very hot potato at writing dialogue for the stage or screen and, happily, his inclination to lead his favorite characters down front for & nice, long lecture to the audience creates no serious difficulties here. (They are fne speeches all right, but they might come in handier in other places.) As a thoroughly rejuvenated and remodeled actor, Gary Cooper con- tinues to perch comfortably on that pinnacle of acclaim to which “Mr. Deeds” catapulted him. His work in “The General” is sharp and dis- AMUSEMENTS. - B BELASLO .. & STITOT RED ASTAIRE. GINGBII_IOGIIS “SWING TIME” admnou: KERN MUSIC 2 MARCH of TIME® R Towns o crscus uvants & “MY MAN GODFREY" * e UNTIL S P W than Hale, HM Father, Son Win Contest. MCcKINNEY, Tex. (#).—Forrest Dunn of Dallas won a baby show here 22 years ago. Recently he entered Rich- ard Forrest, his son, in the same event. The baby won. rison’s for all kinds of Stop Blank Books E. Morrison Paper Co. lm'.. N 2945 OPENING DANCE TONIGHT with George Corley’s Orchestra 10 P.M. “til 1 ‘Ole’ Fireside The Smart Place T. B, Md,, on La Plata road 13 miles from Washington o« + looking elsewhere + + « run right to Mor- Ariz., last May 15, and parted August 28, Mrs. Healy's complaint stated. SATURDAY, SEPT. (9th as opposed to situation, the films find tinctive, & description much too weak to cover the marvels of Akim Tami- rofl’s impersonation of the dread Gen. Yang. Madeleine Carroll up- holds her reputation as the most beautiful and sombre of our long- suffering leading Jladies (we have seen her in no less than a brace of films recently in which she was| enamoured of some bold chap who| was forever being shot at) and Porter | Hall does his best work since “The Petrified Forest” as la Carroll’s sniv- elling, cheap-skate father, Dudley Rigges, Willlam Frawley and J. M. Kerrigan are the other three on the honor roll for this week and the novelist, John O’'Hara, ap- pears in a single scene, long enough to convince every one that his talent is writing. ASTAIRE-ROGERS FILM GOES INTO THIRD WEEK JPROVING that not even a wobbly story and moronic comedy se- | quences can dim the luster of popu- | lar approval which attends every pic- ture made by Fred Astaire and Ginger Rogers, “Swing Time” went into a | third week at R-K-O Keith's yester- | day. Music is by Jerome Kern, with three duo routines by the best dance team in America, and a solo number by Mr. Astaire called “Bojangles of Harlem,” seen so far in the Astaire-Rogers cinema geries. Victor Moore and Helen Broderick are the comedians assigned to wrestle with the stupid gag sequences, and| Eric Blore and George Metaxa have | minor roles. The dancers swing it | hot, sweet, and in waltz time on vari- | ous occasions, and they, after all, are the ones who count. Two of Mr. Kern’s ditties are already in the hit class on radio programs, and at the Nation's night spots. R. B. . AMUSEMENTS. AMUSEMENT! s. 3rd and Last Week Starts Sunday. - Seats Now Selling GAYETY—BURLESK Seper Atiraciion “ANN CORIO” Tth at T Now on suee LEROY SMITH AND HIS SYMPHONIC JAZZ ORCHESTRA HEADING ALL STAR MUSICAL REVUE MID-NITE SHOW TONITE RESEives SEATS ACADEMY Of Perfect Sound Photepiay 8th at G SE. E. Lawrence Phillips’ Pro; which outshines anything | * VA, ASHTON g G088 s CAROLINA ¥ “DRIFT_PENCE" and_“SO} (NEW) CIRCLE 219 = Az3sy DUMBARTON . 3% zeee Carrier Air Conditioned FAIRLAWN _ *vscostia 5. G W. C. FIELDS in “POPPY." & N. C. Aye. CAPIT®&L STREET AT-147w E M ol REDRIC MAR WARNER BAXTER “The ROAD to GLORY" JUNE LIONEL LANG e BARRYMORE STAGE 9TH ANNIVERSARY REVUE GARY COOPER MADELEINE CARROLL “The GENERAL DIED at DAWN" “GHARLIE CHAN AT THE RACE TRACK” Direction of Sidney Lust CUBAN_FOLLIES RMACS “DON ZEAVA 15 —SOUTH AMERICAN BEAVTEES —1§ Follow the Crowds TODAY THE NOTION PICTURE TRIUMPH ALL WASHINGTON . 1S TALKING ABOUT . . . WARNER BROS. MASTERPIECE ANTHONY RDVERSE DIRECT FROM A RECORD BREAXING WEEK AT THE EARLE . . SEE IT NOW AT WARNER 8R0S, 'METROPOLITAR | DOORS OPEN TODAY—$:15 A. M. FIRST SHOW—9:30 A, M. And at 11:50—215—445—7:10—9:35 PRICES 9th Bet UTTLE oS i Celebrating Anniversary Week! Time, Our Pirst Bringing Back for the Fourth - VICTOR McLAGLEN in » Also_Pitepatrick _Traveltalk on Ireland. Pmm 1110 B 7..5“ York Air Con DICK POWELL in “THANKS A MILLION." BULLETS. Double Peature M _TYLER in “FAST 8214 Georgia Silver Gpring, ML Matines 100 PAL JANE WITHERS ‘ NE WI and RALPE ::"uomyut. Chapter 7 “Adventuses of Prask Merriwell” 6th and . STANTON, ot T Mok “DEVIL'S SQUADRON ~ starring ATE-BETHESDA Sio.3™ v Bethesda. Ma. “Twt ¢exyy CEORGE, BANGAGPT 1n 'HELL SHIP MORGAN.” Also WILLIAM BOYD in “CALL OF THE PRAIRIE.” FALLS CHURCH, VA, STATE _~o.Bagimoe BING CROSBY in | RICHARD ARLEN in RANGE » LET "EM TAKOMA 3,38 mut Continuous Prom 1:00 P.] «“ JOAN BENNETT in 13 HOURS BY AIR” 'ORGE O'BRIEN in “BORDER PATROLMAN.” " |HIPPODROME oK.X%e, 0% OhariS RITS 2 10,11, PM. Bed. Rochelle Hudson. *“Wi & Siatting Tomorrow. 2 Dars" Clark Gable an Jeanette MacDonald in “SAN FRANCISCO.” C MT RAINIER. MD. o Brian Donlevy in “High T - Starting Tomorrow—4 Days SHIRLEY TEMP! LE in “Poor Little Rich Girl.” ARCADE =rpmvpas o Cortinuous 2 to 11 PM. !ug.::\:a.,;('bnovmmd ’the Kid " Parents o — RICHMOND *cexagsiavs Warner Baxter, “To Mary With Love." BOCKVILLE, MD. MILO Double Feature Continuous 2 ¢ Peter 5. Kyne's - Mysterfous Avenger. " Randolph Scott in “And Sudden Stariing_Tomorrow—3 Days Warner Baxter, “To Mary With Lover 7 " AMBASSADOR 45" &5, Rd. ad SHIRLEY TEMPLE in * & LIT- of Time. 624 3 Phoene Line. '8!15 Tosture—Matines, 1:00 PM. P n _“‘CRASH AN’ BUSTER CRABBE and Pt Rider? Mo~ 4 AVENUE GRAND ¥ A MARSHA RAIDERS." AP ntom Ride: s S : . Ave. Mmmn.’,'égfim : 3. AGAIN.” ‘“‘Phantom WARNER BROS. THEATERS . necessary, Opening to 1 P. M. —All Seats 25¢ 1P M. to 5 P. M. —All Seats 35¢ §P. M. to Cleging Bal. 40c —Orch. 55 Children 25¢ At A Times &K AT 9:30 P. M. () Don't miise it. at tables. wal:lg E ‘ Dancing and floor—It's Swanes tomite. 3th & E Sts. JANE WITHERS, Comeiungs s T:00