Evening Star Newspaper, October 16, 1937, Page 42

AMUSEMENTS Change of Mood Mars Capitol Film Story Huge Production Based on Fmdmg Oil in Pennsylvani From Melodrama a Suffers Ending. BY JAY CARMODY. HAT anything-for-a-laugh urge § higher standard of perfection. which has insinuated itself into the psychiatric pattern of Hollywood keeps “High, Wide and Hu_ndwme," the Paramount opus at the Capitol this week, from attaining a far The film, built around the discovery of oil in Northwestern Pennsylvania, is the stuff of which epics are made. In other words, it is good old saga material—and Hollywood had to go nnd turn the ending into a kind of delir-<+ jous melodrama. A happy ending would have been distinctly in order, but not a slap-happy one such as has been stuck on the end of those 11 other reels. Up to the point where the common people, aided by a bunch of circus ele- phants and roustabouts, go into battle with the minions of capital, “High, ‘Wide and Handsome” is a not too fal- tering story of a spirited period in American history. It is full of vigor- ous ladies and gentlemen. Vigor, as it always has been, is sometimes cast upon the side of right (in this case the farmers with oil property), some- times on the side of wrong (in this case the railroads and some pretty dirty politicians). The two groups whoop it up until at times they get an effect which looks too much like a mad game of cowboys and Indians. The picture casts Irene Dunne as the rather interesting daughter of a medicine show proprietor, giving her & chance to sing a couple of toothy numbers, display a piquant figure and sometimes to overact to the point of being wearisome. Opposite Miss Dunne is strong-jawed Randolph Scott, play- ing the part of an honest son of the #o0il with a winning earnestness and & pair of well-trained fists. In man- to-man imbroglios, Scott demonstrates & talent which fits into the tempestu- ous scheme of things of “High, Wide eand Handsome.” It is pretty clear from the first moment he steps into the focus of the camera that that pipeline is going to be laid, regardless of any tricks or muscles the railroads and their minions may have up their sleeves. LR THE pipeline, of cougse, is the an- swer of the oil owners to the de- termination of the railroads to ralse\ rates so high the farmers might as | well give them the oil. Moreover, it | is the cause of that awful battle at | the end of the picture when, in order to keep the railroads from pulling the | pipeline wpart by hitching it to a locomotive, Miss Dunne's circus goes racing over hill and dale to the res- cue of the Scott faction. It is a mur- derous battle in which the tide is turned by the elephants into whose huge ears the evil practices of the railroads must have been whispered with extremely heavy emphasis. The story of ““High, Wide and Hand- some” is too good a tale not to have moments of high dramatic value. It is unfortunate for the over-all accom- plishment of Paramount that it did not find more of them by keeping the picture in a mood more in char- acter with the material. Miss Dunne’s vocal contributions are pleasing things which shall be known for quite a while as “Can I Forget You?” and “Folks Who Live on a Hill” It is not the best of Jerome Kern, but it is good enough. Elizabeth Patterson, Dorothy La- mour, Raymond Walburn, Alan Hale &nd Charles Bickford are other mem- bers of the cast who contribute telling characterizations to the film. * koK % HE Capitol's stage bill is headed this week by that always fresh, fair and talented couple, Dorothy Stone and Charles Collins. The fa- mous daughter of the famous Fred Stone and her partner-husband do a song and dance act of considerably more than average merit, an act which reaches its climax in their pretty little “Ten O'Clock Town” number. If the audience was slow in warm- ing up to their work, and it was, it may have been due to the prelude act in which George Beatty, “half singer, half wit,” sort of lulled the house into a deep apathy with his songs, jokes | and impressions. Mr. Beatty posi- tively was not hilariously funny. Texas Jim Lewis and his Lone Star Cowboys were pleasing enough in their song and band numuers and the five Elgins do a juggling act that has hu- mor as well as skill in its unfoldment. Betty Grable Given New Glamour Star a Charmer in “This Way, Please” ‘At the Met. the Paramount Picture people | N really are serious about this business of making Betty Grable Holly- | wood’s No. 1 (or at least No. 3) glamour girl. In “This Way, Please,” | O MATTER what may be Jackie | Coogan’s ideas on the subject‘ Where and When Current Theater Attractions and Time of Showing. Earle—"The Life of Emile Zola,” Paul Muni, in a masterful film biog- raphy: 10:30 am. 1:15, 4:05, 6:55 and 9:50 pm. Stage shows: 12:35, 3:25. 6:15 and 9:05 p.m. Keith's—"Breakfast for Two,” a gay new comedy romance: 11:15 am., 1 2:50, 4:40, 6:30, 8:20 and 10:05 p.m. Capitol—"High, Wide and Hand- | some,” oil in Pennsylvania set to mu- sic: 11 am., 1:40, 4:25, 7:10 and 9:55 p.m. Stage shows: 12:55, 3:40, 6:25 and 9:05 p.m. Metropolitan—"This Way, Please,” Charles “Buddy” Rogers back in a comedy with music: 11:40 a.m., 3:40, 5:40, 7:40 and 9:45 p.m. the new picture at the Metropolitan, she is permitted to sing, to dance, to | become dramatic, running the gamut | of emotion from A to about D. She1 has been given the works by the | make-up wizards, too, and now | emerges more luscious than ever be- ! fore, which was pretty luscious. The photographers have taken great pains ! to see that Miss Grable's vitalizing | smile still is vitalizing when it has | been imprinted on celuloid. And in one scene the boys have resorted to a | bit of trick photography to show the delectable lass singing while accom- panied by herself as a trio and then as a whole chorus, following the tenet that a dozen Betty Grables on one screen will be 12 times as enjoyable | as one Betty Grable, a theory not | without its merit. Many nice things have been done with Miss Grable in this plot to make her one of the cinema’s leading stars. But the Paramount people forgot one thing. They forgot to put their embryo star in a vehicle whose glitter | equaled her new brilliance. They | have planted her smack in the middle of an aimless musical which starts for nowhere and gets there; which seems to have no particular point other than the introduction to the screen of Mary Livingstone and Fibber Mc- Gee and Molly, a questionable motive | at best. Miss Livingstone gets some laughs and the other two do all right, probabl; with the audiences they brought from radio, from where they are reported to have come, but for our part we'll take Robert Taylor as Armand. Charles “Buddy” Rogers is | on hand, t0o, in a role which indicates he was right when he deserted the | screen to lead a band. Ned Sparks con- tributes the comedy expected of him. The Metropolitan’s newsreels in-| clude some fine shots of death and destruction and terror spread by Jap- anese bombs in the affair in China. H. M. Villainy Pays Big Dividends in Filmdom. T PAYS to be bad in Hollywood these days, for the screen villain Is back in favor and cinema mean- ness is paying big dividends. One of the busiest men in pictures s Basil Rathbone, possibly the slick- est villain who ever faced a camera. He isn't idle a week, and jumps from picture to picture. He stepped out of “Confession,” in which he was a knave, into “Tovarich,” in which he is even more s0. And now he is testing for a very rascally role indeed, in *The Adventures of Robin Hood.” Claude Rains is another screen ras- eal who is making villainy pay. For his meanness in “They Won't Forget” he has won critical plaudits. Right now he’s heckling the hero, George Brent, in “Gold Is Where You Find It.” Barton MacLane, one of the screen's meanest characters, goes from picture to picture; so does Boris Karloff. Craig Reynolds didn’t do so well until he took up screen skullduggery. Now he’s rid- Ing high. Ricardo Cortez, who used to be a leading man, has jumped in favor since he became a bad man. * Look over any studio talent sheet and you'll find that villainy pays. There are more of 'em working than there are heroes. But in private life they are usually the decentest chaps to be found in a long Summer’s day. Y ) Breen: Palace--“The Bride Wore Red,” luck tosses a poor cabaret entertainer into a mad whirl of society: 1:55 a.m., 2:20, 4:45, 7:10 and 9:35 p.m. Columbia—"Dead End.” fine screen | translation of the Sidney Kingsley play: 11:25 am, 2:20, 4:45, 7:10 and 9:35 p.m. Trans-Lux—News and shorts. Show runs 1 hour and 15 minutes, continu- ous from 10 a.m. until night. Little—"As You Like It,” Elizabeth Bergner in a fine screen translation of the play: 11:25 am,, 1:30, 3:30, 5:35, 7:35 0 Ambassador—' cal romance th songs by Bobby 2, 4:10, 6:20, 8053nd10pm Penn—"It's All Yours,” romantic tale in a gay and comic mood: 1, 3:20, 5:35, 5 i Sheridan—"Big City,” confldexable melodrama about a taxi war: 1:35, 3:45, 5:50, 7:45 and 9:40 pm. Tiveli—"It's All Yours”: 1, : 7:40 and 9:40 p.m. £ Yours”: 45 and 9:40 p.m. Howard—"Ever Since Eve,” Marion Davies’ latest comedy venture: 12:: 30, 4, 7:05 and 10:15 p.m. Stage shows: 2:30, 6 and 9:15 p.m. 3:15, 1:30, {Bombing of Nanking Tops Newsreels. THAT regular feature of the Trans- Lux bill, the war shots, is re- vitalized this week by first views of the bombing of Nanking. Shooting from | behind walls and even on exposed rooftops, the dauntless news camera- men have caught all of the horror of the lethal precipitation, the geysers of brick and pavement, the spiraling col- umns of smoke trailing a riddled plane. The footage constitutes the best on the current strife yet offered, albeit editing, as far as removal of repetition is concerned, is slightly below the usual commendable average. On the national front, President Roosevelt is pictured as he delivered his fireside chat; results of the G- men’s latest gun battle with outlaws are shown; a new president is inaugu- rated at Cornell University; Army de- feats Columbia at foot ball; a mechan- ical cotton-picker performs in the South; opening of a new high- speed highway in New York City is filmed; models display the latest in fur fash- dons. Locally, the camera journeys to the Zoo to catch the new animal tenants. Abroad, the American Legion marches in Paris and Rome with Gen. Pershing honored. Short subjects this week are com- pletely satisfying and comprise “Swing, Monkey, Swing,” a Color Rhapsody cartoon wherein monkeyland ‘gives out” in the approved Calloway man- ner; “Long Bright Land,” vivid views of New Zealand with its many hot springs and mud volcanos; “The Circus Comes to Town” and “Un- usual Occupations,” presenting, among others, a man who raises and sells worms, a maker of clothing store dum- mies, a maker of authentic miniature furniture. C. A M —_— Twizzler Answer. ‘The four parts of 45 which give 10 when treated as specified are 8, 12, 5 and 20. —_— Sue Moore, who is playing an im- portant role at Warner Bros., played with the first stock company to make & world tour, 1:40,| STAR, WASHINGTON, D. C, SATURDAY, OCTOBER 16, 1937. H | nuts THE EVENING Mild Cinem At Keith’s ¥ U “Breakfast for Two” Is Stanwyck Vs. Marshall. BY HARRY MacARTHUR. REAKFAST FOR TWO,” the new motion picture &t Keith’s, is about Miss Bar- bara Stanwyck slugging Mr. Herbert Marshall a couple of times with a doorknob-laden boxing glove and generally harrassing him in other ways until he marries her. Whatever comes of the union is Mr. Marshall's own fault, for if he had shown any ingenuity he could have sneaked off some place and quietly married Glenda Farrell, who did not want to make him over and probably would have made him a very fine wife even unto old age. Intended to be one of those hilarious, breath-taking farces, “Breakfast for Two" has turned out to be a rather un- imposing bit of cinema fare. Of course it does have its moments. Both kinds. It’s just another case where the movie- n-akers, in attempting to cater to what they apparently believe is au insatiable audience appetite for mad comedy, have reverted too much to the Key- stone technique when cornered behind a slow scene. It's slapstick instead of slap-happy too much of the time. But there are some bright inter- ludes in the rather routine tale of a lass who reformed a man to marry him, as opposed to the practice of mar- rying to reform. There's one hilarious sequence where Mr. Marshall, on his way to his lawyers about a divorce matter, discovers the marriage certifi- cate tying him to Miss Stanwyck is a forgery and a trick of her's to keep him from marrying the other lass. In a high dudgeon (well, fairly high) and a fine sense of man's rights in this world, Mr. Marshall decides to turn the tables, unpacks the Stanwyck lug- gage, locks Barbara in the boudoir. (She escapes, however, with the assist- ance of the doorknob and the Hays office.) Maybe “Breakfast for Two” fis brighter than all this indicates, but early in the proceedings Miss Stan- wyck tells Mr. Marshall that she has a yen for strays, and we closed our eyes and could picture the words being plucked from the mouths of dozens | of girls telling it to Robert Young (Substitute Bob Montgomery if you wish.) The Keith's program also includes an interesting behind-the-scenes Hol- lywood glimpse, an account of the de- tail and care that goes into a sc:een | test. Vehicle “Bride Wore Red” ride Wore Red 7 In Second Week at The Palace. 166 HE BRIDE WORE RED,” | fashioned from a piece of | Ferenc Molnar heartbreak | into a starring vehicle far\ | Joan Crawford, entered its secorfd week at Loew’s Palace yesterday. Without the flerce fidelity of Craw- | ford fans to support it it is doubtful | that the picture could have achieved such a feat of endurance. Outside of the magic traditionally associated with her presence, with some nice mountain scenery thrown in, thcre\ is little to commend “The Bride Wore | Red.” Unless, of course, one wants | to commend it for its further revela- | tion that Miss Crawford is a hard lady to throw for a loss at the box | office. The film deals with the doings of a hard young lady, accustomed to | singing for sailors, who on the whim | of a bad old count is invited to the | mountains for a fortnight. An inner | conflict develops from the minute the | girl steps off the train at Terrano. She is torn between the implication of the wind in the trees and the blue sky above, on the one hand, and the urge of any shrewd miss to pick off a wealthy young husband on the other. In the end it is the wind and the sky (and the Terrano postman in the guise of Franchot Tone) who win, but that the four of them are going to live together happily ever after- ward is one of those endings which the story does not prove. There are some neat stretches of dialogue scattered through “The Bride Wore Red,” and Miss Crawford defi- nitely is better in those which are | brittle and embittered than in those | which have her wistful for the finer | things of life, about which the Tone character is always talking. It is a good piece no doubt for Crawford addicts. And it won't hurt any one else. J.C. Director’s i)oubl‘e Can’t Collect. OLLYWOOD is full of people who earn sizable livings because they resemble film stars. They act as dou- bles or stand-ins for their well-known prototypes. But there isn't any pay-off on a director’s double. The fact that George Allen can hardly be distin- {Buished from Director Archie Mayo means absolutely nothing in dollars and cents to Mr. Allen. He is an actor, and when bit casting | is slim he works as a truck driver. Currently he is employed as a chauf- feur on location trips for Samuel Gold- wyns “The Adventures of Marco Polo,” being directed by the corpulent Mayo. After he had been mistaken for the portly megaphonist several times by people who wanted him to tell them how to do the next scene, he ran into Mayo on the set. “Ho,” said Mayo, “s0 you're the rea- son I've been bothered all day by peo- ple who want to be driven somewhere.” Allen grinned, and Mayo compared ! his own great bulk to that of the | driver. | “A fine thing,” said Mayo, “you've become a truck driver to eat—whereas T've eaten to become a truck.” Your every s tionery " need ;n:llm in Her Majest the Queen ANNA NEAGLE, Pictured here in her coronation robes, plays Queen Victoria in Herbert Wilcox’s motion picture re-creation of the life of the famed sovereign, showing at R-K-O Keith’s Thea “Victoria the Great,” scheduled for early ter. Benchley Finds Hollywood Always Hollywood Migrating Back and Forth, Writer Defies Film City To Change One Iota. BY ROBERT BENCHLEY, Guest Columnist for Sheilah Grat Hollywood for six months at a time. York with the feeling that, whej essentially the same. And it usually is. For example, I know in my heart | will be serving fried egg sandwichese buried in mayonnaise, chopped wal-| nuts, pickle relish and diced beets (unless you want them not to, in which case you will get them buried in mayon- naise, pickle rel- ish, chopped wal- and diced beets just the same). 4 Next year they will also be serv- ing your salad | first, before your soup. Conrad Nagel will still be offici- ating at the more formal public functions. Hollywood Boulevard will be called “Santa Claus Lane” at Christmas time. A light precipitation of rain will | be hailed. in the newspaper head- lines as a “freak shower.” Louis B. Mayer will be dancing the 38 equivalent of the Rhumba Filling station employes will be | saying “You bet!” when you thank | | them for service. Robert Benchley. 19: * ok k% Any one over the age of 4. with the partial use of one lobe of the| brain, will be driving an automo- | bile at 70 miles an hour. Every fifth car wil be driven by a Japanese gardener and will have a rake stick- ing out from the back. Any taxi driver, picked at random, will just have arrived in Hollywood from San Francisco, where he has been working for five years, and will not know where Beverly Hills is, much less the location of the house you are after. Eastern foot ball scores will be car- | ried by the Los Angeles press, if at| all, in the real estate section. George Jessel will be the funniest man in the picture colony, only not in pictures. Camera men, stage crews, electri- cians and property men will still be the best guys in the business. Garbo will be on the brink of re- tirement. All stars will depart from social gatherings at 11 pm. to get their sleep, leaving the drinking and “Hol- lywood debauchery” to scenario writ- ers and out-of-town visitors. * % % % The University of Southern Califor- nia will be the alma mater of the movie colony—provided its foot ball team is winning. It will always take at least half an hour to get from one place to another. When you buy a pair of shoes you will get a side order of potato chips and a dead-tired olive with them. Chaplin and Paulette Goddard will be reported as going around together. A masseuse will be a “massooze.” The Vendome at lunch time will be so full of out-of-town star gazers that there won't be room for the stars. But no matter how much you grouse DINNER DANCING Dinner. $200. Sat, 32.25 Cover, 55¢. Sat. G Hol, 31.10 ‘ & [No Additional Cover for Dinner Guesty| It \ o'ce OLLYWOOD, October 16 (N.AN. periods of incarceration ranging from Each year, | slums | sary | mentioned group, a coter A.) —Since 1 coming to x for 11 years, I have left for New n next I returned, everything would be that, next year, as in past vears, they you knock the movie busines little old check each week clink when it drops into the that's what we're all here for, it. boys? isn't | (Copyright. 1937. by the North American | Newspaper Alliance Inc.) “Dead End” Returns To Columbia. EAD END,” which will go down in the year's records as one of | the finer cinema gems, returned yes- terday to the Columbia to give dis- | cerning filmgoers another chance to see what can be done with a good story well photographed. A vivid sketch of one of the most exciting society has nurtured, “Dead End” is a social document as as sound drama. It does not preach, however, but is cont~nt to let the char: acters and their action slam the neces- the public. The poor, the rich, .the good and the evil all have their clear-cut roles in this Goldwyn product. The main characters are recruited from the first- e of six lads being turned into the ways of violence because there is no other place to turn | in their desolate corner of the city. The youngsters, recruited from the stage play, give performances of such excellence as to submerge those of such established film players as Sylvia Sidney, Bogart. And remember, because the others are through their parts. “Dead End” is a picture with just about everything to commend it. it is not coasting Now Open—A New WAGSHAL’S Delicatessen, 2908 14th St. N.W. Bridge and Cocktail Party Specialties Scandinavian Imports 'THEATRE PARKING sPM.TO P& 1AM. CAPITAL GARAGE 23,5 Bet. 13th & 1 -1n the BeauHul Tudor Room of the Hay-Adams House. (Where is jeatured nightly) LARRY HENDRICK at the Console of the. Hammond Organ Luncheon, 85¢ Dinners From $1.25 Al%o a-ia-Carte Service Lecture “WHO, WHERE, WHAT IS GOD?” Sunday, Oct. 17, 8:15 P.M. UNITED LODGE OF THEOSOPHISTS Hill Building 17th & Eye Sts. N.W. Ne Dues, Fees or Collections, “SUNDAY SPECIAL” Roast LOIN of PORK Corn Fritter: " Portususs. Avolé Tropical Shortcake “Foreign Wines' R DINNERS: Steaks—Chops— O oS mithBeld Ham Sunday Breakfast Phone Shepherd 3500 S P | ymmmummun “The Life of Emile Zola” Still a Stirring Film AMUSEMENTS. National. So is our opinion of it.) BY ROBERT B. N THEIR annual contribution to of Emile Zola.” l and Rover boy stories. slightly more profound and stirring than whimsical love making, cheap melodramatics and crass humor. “The Life of Emile Zola” is not an “arty” affair, but the picture is plainly designed to earn intellectual prestige for its producers. Its art is confined to Mr. Muni's boundless craft in re- viewing the body and soul of a great man. If, however, Zola's passion for truth and justice made him, as Anatole France said, “for a moment the con- science of man,” such pictures as these also represent moments in the con- science of the motion picture industry. It is here that cinemaland dares to admit all is not rosy in the world, to set aside the boy-meet-girl and the hero-shoot-villain motifs, and assume for once the stature of a fully de- veloped mind. Even so, those taboos nl\\nys to be | considered in ‘“selling the product” are operative and mildly restrictive. While “Zola” does not hesitate to ex- pose the military hierarchy involved in the Dreyfus affair, it very neatly sidesteps the obvious fact that racial issues were at work in the savage injustice dealt Capt. Dreyfuss. Where- as it implies that Zola investigated and wrote bitterly of the conditions in French coal mines, the point is not raised to the level of a full-grown issue. Film producers regard these matters as “hot” and untouchable in a too serious vein, and their most sincere attempts to be aggressively intellectual are, therefore, mildly stymied by the nature of their business. This has not, be assured, robbed “The Life of Emile Zola” of the glory | | it attains as a drama in the last half | of the picture, or dimmed the un-| interrupted splendor of Mr. Muni's | performance from his first moment in the picture to his last. Zola as Muni portrays him is not so exciting | a person as his Pasteur, to make an obvious comparison, but the character- ization is an almost symphonically rounded creation—the final chord thi weeks to | | tion, pace, | new | and as entertainment. well | moral into the consciousness of | Joel McCrea and Humphrey | natural outgrowth of the first. One actor’s consistency 'and skill in | projecting a personality cannot, how- ever, hold tightly together a tale lack- ing in dramatic unity. This is the fault apparent in the initial half of the film, where such episodes as | the interludes with Paul Cezanne, the | highly sentimental meeting with | “Nana,” the conflict with censorship | authorities, swing loosely and rather | | aimlessly, bound together merely by | the fact that Muni appears in all of | | them and that in each instance he | appears as Zola should be. When the Dreyfuss case is drawn into the plot, however, action, direc- import suddenly take on ! life, and it is here that the picture justifies itself, both as drama For this emo- | | tional tightening, this intensification | | of the meaning of the story, much‘ | credit must be given to Joseph Schild- | kraut as the beleaguered Dreyfuss, to Gale Sondegaard as his wife and | ;m Donald Crisp—who, as counsel for | Zola in the famous libel suit brought | by the French general staff after the | publication of “J'Accuse,” sets the| pace for a court room scene that is| brilliantly brought off. You must admit, by the wa: that 'AMELIR CONTI | of the | Metropolitan Opera Co. OPERA COACH Voeal and Instrumental For Appointments Please Call Raleich Hotel __NA. 3810 __ Room TRANS.LUX (22t [ Latest News Pictorial New Zealand Travelos Sport, Cartoon SHORT SUBJECTS secany saecieo “Constitution Hall, Tomorrow Aft.. 4 P. M. PONSELLE Noted Dramatic Soprano, Met. Opers Co. | In Full Recital—Sea: At Mrs. Dorsey’ uoo(‘-mronn » Na 151 s MRS. DORSEY'S (937 § CONCERTS at Comllluuunlg;ll—lui and C -~ d, Krei 1st SUN. SERIES (6 Sun. Aft'noons). Subscription Sale Now Closed. 2nd SUN. SERIES (6 Sun. Aft'ns): Martini, Cossack Chorus. Grace Moore, Brailowski. RD ¥ ERTON § 10 "1“:3 and Ball Ecom Daneing 121 e.___Phone NAS Biography Starring Paul Muni Now Showing at Earle. Miss Ponselle on Stage. (Note: This is a reprint of a review of “The Life of Emile vola,” written when the picture came here as a road show August 26. film mow at the Earle is identical with the one exhibited at the Warner Bros. now give us Paul Muni as the central figure of “The Life Patiently and skillfully wrought, saga of the great French novelist opened amid the loud huzzas of those who have become bored with filmland’s preoccupation with love triangles Here they found gracious relief in an adult story about persons whose concerns in life were %-—- - — ——————— | skating aggregation. | SONJA HENIE, and “THIN_ICE." BERNHEIMER’S DON MARTINI “Distinctive Dance Instruction” 1811 HST. N.W. & 767 B 5% < The PHILLIPS, Jr. the cinema’s biographical files, the this semi-historical script writers, director and producers alike showed almost incredible re- straint in sticking to the historical truth that Capt. Dreyfuss, who was saved from living hell largely by the daring and moral courage of Emile Zola, never met the man who had been his chief benefactor (while we admit that the failure to meet came about for somewhat different reasons than those outlined in the film). * ok K K CARMELA PONSELLE, sister of the opera star Rosa Ponselle, head- lines the current Earle stage bill, singing a bit from “Carmen,” a semi- modern ballad and a song which we distinctly suspected contained a few | “hi de hoes.” Perhaps Miss Ponselle was not in best voice at her opening show yesterday, for the effect of these numbers was nothing startling, and the rather melodramatic gestures which accompanied them were no help. The perennially popular dance team of Chaney and Fox appears this week with some new roitines and the in- variably pleasing manner of present- ing them (although we would like to remind Mr. Fox that white gloves are rather ghastly in anything except | & minstrel show or a junior assem- bly). These excellent dancers have with them also as accompanist a young lady named Camille de Montez, who deserted the piano for a few mo- ments to take a graceful twirl at the singing of “La Violaterra.” Other acts: Roy Smeck, wizard Mi the banjo, who has been a standby of Washington vaudeville for years | and has yet to disappoint an audience; | the Olympic Trio, an agile roller | Hitchcock Is Slated For Two More LFRED HITCHCOCK, in New York | on his first visit to the United | States, announced there that he was | scheduled to make two more films, in | addition to his current production, | “The Girl Was Young,” for Gaumoms | 1937-8 season. Nova Pilbeam, starred in “The G)rl, Was Young,” also will be the star in | his forthcoming production. Mr. Hitchcock has been working on the script at intervals during his visir, with the assistance of his wife, the | former Alma Reville, and his produc- tion assistant, Miss Joan Harrison. ACADEMY Of Perfect Soun: 8th at G S.E. E. Lawrence Phillips' Theatre Beautiful Continuous From 1:00 PM. ‘CHARLIE CHAN AT THE OLYMPICS with WARNER OLAND. HOPALONG CASSIDY RETURNS. with WILLIA! BOYD. i 11th . Ave. S.E. CAROLINA '35, v “CALIFORNIA STRAIGHT. AHE “JIM_HANVEY. DETECTIVE." \hrrophomr “Sound & Bt CIRCLE "epg,or due Matinees Tues.. Thurs., Sun, RICHARD - DIX. JOAN * PERKY DEVIL IS DRIVING.” Comedies. DUMBARTON 1317 Wisconsin Ave. Air-Conditioned BUCK JONES in “SANDFLOW." Chapter No. “Robinson Crusoe of Clipper.” __Also_Comdey. FAIRLAWN Photoplay E. and Home of “THE COSTIA D.C Conditioned WILLIAM BOYD in *RUSTLER'S® VAL- A227 M St N.W. Double Feature. in_“DOOMED AT SUN- GUY KIBBEE in “THE BIG 608 9th st N.W. . Mr-Conditioned ELISABETH BERGNER in “AS YOU LIKE IT.” Sunday. “The Wandering_Jew. PRINCESS Y Double nuuu | JACK HALEY in “F MAN UL KELLY in_“IT_HAPPENED OUT WEST |SECO St e M IT HAPPENED OUT WEST, atinee PAUL KELLY JUDITH ALLEN “FORLORN RIVER,” BUSTER CRABBE Chapter_10. “Jungle Jim.” WNTON 6th and C Sts. N.E. Finest Sound Eavipment Continous Prom 1:00 P.M Double Feature. “LET'S MAKE A MILLION,” With EDWARD zvmn—lx;‘flon'row “TRAIL OF TERROR.” STATE-BETHESDA (2:0.%is- Ave: Bethesda. Md. SHIRLEY TEMPLE in “WEE WILLIE WINKIE.” “Day With the Dionnes.” News—Cartoon—Serial. O “4th and Butternut sts. TAKOMA &, 5,0 Froubies Continuous From 1:00 P.M. | “THE DEVIL IS DRIVING.” MICKEY ROONEY, “HOOSIER SCHOOLBOY.” ARLINGTON, VA. 1320 Wilson Bivd. Opp, Colonial Village TYRONE POWER fn HTON Clarendon. WHEELER & n_ “ON_AGAIN_OFF AGAIN.” FALLS CHURCH, VA. ATE NQ_PARKING SPEN( TRACY | HUGH HERBERT snd LUXSE RAINER in “MARRY “BIG_CITY.” THE GIRL.” _ NEWTON 12th ANIfNI:EW'.I'D‘N Alr-Conditioned 3 uble Featun. ‘LAST TRAIN FROM MADRID." )ROTHY LAMOUR. ‘THE MAN ‘WHO CRIED WOLF," LEWIS STONE. TOM_BROWN. Matinee at 1:00 P.M. JESSE THEATER "*%.* ¥ Carrler ‘Alr-Conditioncd. uble Feature. “THINE 'PAST MR. MOTO.” PETER ORRE. "CALIFORNIA STRAIGHT AD.” JOHN W. Va. OOLSEY fet: THE THEATRE ¢ GIJILD presents the ALI"I!EI) LUNT LYNN l‘o‘\’l‘A'\‘\l’ Adapted by §. N. Behrmann With_Brilliant New York Cast Prices—Eves. & Mat h. 1st Bale.. $2.20, $1.10._Tax incl TMPORTANT Curtain rises promoily at and matinees P. Afte Curtain rises nobody seated until after prologue which NO_ONE_SHOULD MISS PAUL MUNI n Warner Bros Maser (EMILE 10Ln” “THE LIFE OF Warn'er Bros METROPOLITAN. CTHIS WAY PLEASE" CHARLES Buéy) ROGERS—BETTY GRABLE RUFE DAYIS —FIBBER McGEE & MOLLY and MARY lWINGSTflNE The Year's GRANDEST MUSICAL IRENE DUNNE RANDOLPH SCOTT “HIGH, WIDE AND HANDSOME" Dorethy LAMOUR * Ben BLUE e plus on stage WASHINGTON'S BIGGEST VAUDEVILLE SHOW! @47 PALA CE JOAN CRAWFORD “The BRIDE WORE RED' FRANCHOT ROBERT TONE °YOUNG Leew; COLUMBIA Syleia SIDNEY SIMMYCK MARSHALL BREAKFAST /- THO GLENDA FARRELL o ENiC BLORE plus HOLLYWOOD SCREEN TEST You'll see HOW i's done Coming -« « o Jonn w a6k BOLES ® LUPINO ® OAKIE “FIGHT FOR YOUR LADY" 621 0 [Phone Linc. Sho 12, Conn AVALON * 843 Pa. Ave. S.E. LL 21 AVENUE G AND Doors Open ED STONE CALVERT Doors Open SPENCER TR/ in "BIG, CITY, CENTRAL X Phone Wfl. 2811 HEQTHER A\'GEL m WESTEP N and SHIRLEY TEMPL™ ICTOR MeL. ALvLE‘l in ¥ “ILLIE w ‘l an‘\! LU “Necking Bergen w. 300 10 Show o P HARRIET HiL GENE_R LIARD QF THE PARTY nedy. Also CI HOME Doors Open LORETTA YC LOVE Also FENN 7650 .an Iahr Doors Open 1 MADELEINE RROLL. ~ FRANC] LEDERER in “IT'S ALL YOURS.” EAVOY 3030 11th [Fhone Ert i TOAST O Car! WARNER BROS. THEATERS wation SHERIDAN | TIVOLL it g::*.‘:.‘ Beers Oven 13 E C. Phone Theaters Direct. For_Additional Info Conn Ave‘ lnd Newark St. N.W. ana a. Ave, and Quebec N.W._ Col. 4610 1 N CHE “LOVE UNDER FIRE near 9th " [HIPPODROME %22 JOE PENNER in “NEW FACES OF 193‘7 ¢ Ida Lupine “Let's Get Married Matinee 2:00 P.M.—Cont. to 11 P. tKMEO MT. RAINIER. MD. Double_Feature. Robt. Young. “Married Before Brea fast.”" Tex Ritter, “Rider of 1 ockies. Matinee 1:00 P.M.—Cont. to 11 P.M ARCADE '“’m‘T.Efi‘n"‘!'fi"Z" = Guy Kibbee, “Big Shot.” Richara 3 Arizonian.” “Paint Staition." Chapter No. 1. Matinee 1 pm. _Cont. to 11 pm RlCHMOND ALEXAI\DIIA VA. Raymon Navarro. “She k smu out. Matinee 8t 1:00 P.M. LM THEATER ™% “YOU CAN'T HAVE EVER! THING,” AYE. DON AMECHE. ALich )(Atlnu at 1:00 P.M. i Al.l:xAanuA, VA. GARY COOPER and GEORGE RAFT in “SOULS AT SEA.” __Free Parking Space—800_Cars. ROCKVILLE MD. Double Feature. = Rochelle Hudson. "That T May Live.] Ken Maynard. “Trailing Trouble Matinee 2:00 BM.—Cont. 0 11 PM. Free Parking. REED & Direction of SIDNEY LUST