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Mr. Carmody Ends His
Tour Through Hollywood nThe Last-Day Whirl Takes in “Tom Sawyer” in Technicolor, Claude Binyon and a Few Postscripts. BY JAY CARMODY. HOLLYWOOD, August 27.—It was away out on the rim of Culver City at the Selsnick studios that this trip to Hollywood drifted to an end. With E. de 8. Melcher busy at this very moment whipping out a brilliant funeral oration, which will occupy this same space tomorrow, all we have to do is tell about visiting Norman Taurog on the set of "Tom Sawyer.” And about seeing our first picture being made in technicolor! The two of them constituted quite an adventure. When we drove into the studio the imnression was that* of landing back in the late nineteenth century Just at the moment when achool had "let out" in a Mississippi Fiver town. The place fairly swarmed with children, with Taurog standing in the middle of the swarm looking like a great blue whale. (He wears one of these blue jumper work out fit* which so many affect out here and he is about the size of the north wing of the Post Office Department Building.» Except for the presence of the blue whale, the whole affair so obviously was Tom Sawyer that no explanation Cf the situation was necessary. T#ie picture, Taurog says, is being made ‘‘without names" except for the names of Mark Twain, Tom Sawyer and Selsnick, which are three pretty good ones for any customer's 55 cents. Young Tommy Kelly, a freckled-faced, 10-year-old of whom you never heard maybe in spite of the publicity de partment, is playing the part of Tom. Biggest name in the cast is that of May Robson, who somehow or other manages to look remarkably energetic for a grandmother, especially in view of the fact that she is swathed In grandmotherly garb of the last cen tury and has to sit endlessly under the very hot lights used in making technicolor pictures. (The tempera ture la terrific under those arcs.) The presence of to many young sters naturally turns the chat with Taurog into a discussion of directing them in pictures. It's one of the easiest things in the world, he says. Thoae with whom he la working now are approximate novices before the camera but they are giving startling performance* because of their com plete naturalism. * * * * “T'HEY have no preconceived ideas," Taurog tells you, ‘‘with the re sult that they do what you tell them. And they concentrate much more on the Job than you might think." He said it all with an emphasis which keeps us believing it even though in the scene we saw shot one of the children did not do what he was told and did not concentrate on the job. Taurog laughed harder than any one on the set when it happened. The scene is that in the living room when the family gathers around to mourn the supposed drowning of Tom (who at the moment is forgetting he Is an actor and is marching around on the rafters which support the roof of the sound stage). The boy playing Sidney is sitting on a table next to the round-bellied stove. At the order to go to bed from the grandmother, he hop* down from the table and put* his hand on the stove for support. ‘"What do you want to do, burn your hand off?” Taurog asks with a laugh. Even then, in the wave of mirth which rattled off the stage walls, the youngster did not realize he had touched the stove which is made up in the scene to look hotter than any stove ever looked before. ‘‘Next time,” says Taurog, "remem ber the stove is supposed to have fire in It.” The boy promises, the laughter dies, the lights come on and the scene is •hot all over again. Almost a* interesting to the first time visitor to Selzntck as the shoot ing of ‘Tom Sawyer” is the publicity department bungalow. It is the first one ever built on a studio lot and was the company’s gift to Gloria Bwanson when she was In her heydey. It still has that famous black bath room. Including the tub, which once was the talk of the town and made ewery other star insist upon equally luxurious facilities. -*---1 Where and When Current Theater Attractions and Time of Showing. National—“The Life of Emile Zola," Paul Muni in an excellent film biography: 2:30 and 8:30 p.m. (All seats reserved.) Palaee—"Broadway Melody of 1938,” latest in the line of bright musicals: 11:35 a.m., 2.05, 4:35, 7:05 and 9:35 p.m. Keith's—“Make a Wish,” new Bob by Breen musical: 11:30 a.m., 1:15, 3, 4:45, 8:30, 8.10 and 9:55 p.m. Earle—"Confession,” a mother in a dramatic battle to save her daughter: 11 a.m.. 1:35, 4:15. 7:10 and 9:55 p.m. Stage shows: 12:45, 3:30, 6:25 and 8:10 p.m. Capitol—"Love Under Fire.” new romantic comedy: 11 a.m., 1:40, 4:25, 7:10 and 9.55 p.m. Stage shows: 12:50, 3:35, 6:20 and 9.05 p.m. Colambiar—“You Can’t Have Every thing.” bright musical with a lot of Rita brothers’ madness: 11:15 a.m., 1:20, 3:30, 5:30, 7:40 and 9.50 p.m. Metropolitan — "King Solomon's Mines,” the dramatic jungle search for King Solomon's treasure vaults: 11:40 a.m., 1:40, 3:40, 5:40, 7:40 and 9:40 p.m. Trans-Lux—News and shorts. Show runs 1 hour and 15 minutes, continuous from 10 am. until midnight. Rialto—“Dark Journey,” wartime excitement with spies and “Q-boats”: 11:50 a.m., 1:45, 3:40, 5:40, 7:40 and 8:45 p.m. Little—“Mr. Deeds Goes to Town,” revival of the Gary Cooper hit: 11 a.m., 1, 3:10, 5:15, 7:25 and 9:35 p.m. Ambassador—“A Day at the Races,” the mad Marxes at their maddest: 8:15, 7:15 and 9:25 p.m. Penn—"Knight Without Armor,” love blooms midst revolution: 1:40, 8:40. 9:40 7:40 and 9:40 pm. Sheridan—“Mississippi," the popular Orosby musical revived: 2:35, 4:25, 8:10, 8 and 9:45 pm. Tivoli—"Knight Without Armor”: 1:48, 3:40, 5:40, 7:35 and 9:35 p.m. Uptown — “Exclusive,” a gal who shouldnt plays with a newspaper: t:08, 1:55, 5:50, 7:40 and 9:30 p.m. Roadside—“A Texas Steer,” the tamed old satire is revived: 8:30 p.m. DANCING. mA School With a National deputation.“ (Ovm 40.0*0 sspiU la 0. 8.) Dor Martini StRdios Thom who dance interestingly never need worry about their popularity. waltz, foxtrot, tango, rumba, top. Tan Patient Talented Teachers 1811 H St. N.W. Nat. 3767 1 "Ron Martini conducts this branch." A Neville Ray, our host, said we could take a bath in it if we cared to but we didn't. We settled, Instead, for a soft drink. * * * * QN THE list just ahead of Selznick was a visit to Claude Binyon, the plump young man on the fourth floor of Paramount’s Directors' Building who made Washington nearly die laughing recently with his “I Met Him in Paris” at the Earle and Metropoli tan. Binyon as a writer has no right in the directors’ building, you would think, but there he is. The interview is conducted amid sound effects pro vided by Ernst Lubitsch, who is con ducting a story conference just a cou ple of doors down the hall. “Blue beard's Eighth Wife,” the subject of the story conference, ought to be a great picture if it is half as funny as the discussion of it implied. Although he makes it look easy in its final form, Binyon confirms the conviction one gets out here that screen writing is the most difficult form of all. Having written everything from news stories to novels and plays, he ought to know. The interview interrupts his work on “True Confession,” which is going to be done with Carole Lombard and Fied MacMurray in the leading roles. It is comedy and Binyon would rather do comedy than anything else, al though he did one of his major pieces of work on “Valiant is the Name for Carrie,” which starred Gladys George. Binyon is droll in his description of his working methods. He always writes, he says, with definite players in mind. He writes better that way, even when it happens, as it occasionally does, that Fred MacMurray plays a role which he wrote with Clark Gable in mind. Or when Claudette Colbert In terprets a character which he draped in ink around the shoulders of Carole Lombard. Visualizing the interpreta tion is the idea, even when he does not get the interpreter visualized. Postscripts: We finally won that game of getting in touch with Azadia Newman ... It was worth winning, too . . . Miss Newman has just been screen tested by Paramount and the reports of the test are excellent . . . She came here to paint stars, did Joan Crawford and Carole Lombard, and may end up by being a star her , self . . . She would be a nice subject for publicity departments to work on . . . When the Ray Dannebaums of Twent-Cent-Fox take charge the visi tor sees Hollywood in a glance . . . The Dannebaums live on top of the moun tain which looks down on Lookout Mountain . . . The latter is the spot from which that sensational shot of Los Angeles at night was made for "A 8tar Is Born" . . . Remember it, with all those neon lights flashing in your eyes? . . . The step down from the Dannebaums porch looks about 200 feet , . . No one ever has taken it . . . Mrs. Barrett Kiesling, whose husband's book, “Talking Pictures,” is about to be published, is planning to announce the event with a card stat ing that the volume, weighing 1 pound and 2 ounces, has been born to the Kleslings . . . And to a great many schools which are planning to use it as a text on the movies ... It is quite an event in these parts and Mr. Kies ling, as befits an author, is having to take a lot of bows . . . And so, step up Mr. Melcher and begin the final column of the series . . . We are going home! It was so nice of everybody. And so veddy, veddy busy! ^ < 1 Props Don’t Seem to Fool the Actors > t _ 11 One of the hoys on the “Tom Sawyer’’ set leans against a stove without realizing it, even though it is made up to look hotter than any stove ever did. “The Life of Emile Zola” Is Adult Film Biography Paul Muni's Characterization Is One of Uninterrupted Splendor in Fine Cinema at the National. BY ROBERT B. PHILLIPS, Jr. IN THEIR annual contribution to the cinema's biographical files, the Warner Bros, now give us Paul Muni as the central figure of "The Life of Emile Zola.” Patiently and skillfully wrought, this semi-historical saga of the great French novelist opened last night at the National Theater amid the loud huzzas of those who have become bored with filmland s preoccupation with love triangles and Rover boy stories. Here they found gracious relief in an adult story about* persons wnuse concerns in rue were 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 plain ly designed to earn Intellectual pres tige for its producers. Its art is con fined to Mr. Muni's boundless craft in reviving 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 conscience of man," such pictures as these also represent mo ments in the conscience of the mo tion 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 developed mind. Even so, those taboos always to be considered in “selling the product" are operative and mildly restrictive. While “Zola" does not hesitate to expose the military hierarchy in volved In the Dreyfus affair, it very neatly sidesteps the obvious fact that racial issue* were at work in the savage injustice dealt Capt. Dreyfuss. Whereas it implies that Zola investi gated and wrote bitterly of the con dition* in French coal mines, the point is not raised to the level of a full-grown issue. Film producers re gard these matters as “hot” and un touchable in a too serious vein, and their most sincere attempts to be aggressively intellectual are, there fore,. 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 a* Muni portrays him is not *o exciting a person as his Pasteur, to make an obvious comparison, but the charac terlzation is an almost symphonically rounded creation—the final chord the J natural outgrowth of the first. One actor's consistency and skill ; in projecting a personality cannot, however, told tightly together a tale lacking 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 tion, pace, import suddenly take on new life, and it is here that the picture justifies itself, both as drama and as entertainment. 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 to 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 way. that script WTiters, 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 w'ho 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). ■■ — ■ I ■ i RAY MILLAND’S ROLE Actor’* Next .Aswignment I* Part Opposite Miriam Hopkin*. AY MILLAND, one of Hollywood'* handsomest leading men, ha* been awarded the male lead in R-K-O Radio'* “The Female of the Species,” starring Miriam Hopkins. The pic ture will be produced by P. 3. Wolfson and will go before the cameras with Leigh Jagon directing within the next fortnight. “The Female of the Species’’ is taken from an original story by Allan Scott and Charles Norman. Milland, in his last three pictures, has appeared opposite three of the cinema's leading actresses. Including Frances Parmer in “Ebb Tide,” Jean Arthur in “Easy Living” and Wendy Barrie in “Wings Over Honolulu.” Miss Hopkins’ last picture for R-K-O Radio was "The Woman I Love,” in which she was co-starred with Paul Muni. —-• IMMUNE. The harem beauties in Eddie Can tor's ''All Baba Goes to Town” didn’t have any lure for Milt -Gold, the Twentieth Century-Pox still photog rapher. A* noon aa the film la com pleted, he will be married to Bernice iiiiiii . — ■ X Belt, and the two will go on a honey* moon to Ensenada. Gold has been snapping Hollywood's movie stars lor 15 years. £teim—FUN—Dance AzMMM/ CABIN JOHN OR GLEN ECHO STREET CAR. 40. MIN. MOTOR, 20 MIN,, MASS, AVE. OR CONDUIT RD. On S. S. POTOMAC to I COLONIAL BEACH Lv. 9 o.m.—Back in I (Washington 7:30 p.m. I ltn-Mile Water Trip—Salt Water I Swimming—Free Dancing—Meals I Refreshments. Trips Every Sunday.! Visit WAKEFIELD Birthplace at Washington Steamer-Bus connections at Colonial Beach Sun day. Plenty of time for sightseeing. Rmand Trip Colonial Beach ta Wakefield. SI.M • 1 MOONLIGHT Cruises Nightly, 8:45 3-hour cruise. Free dancing to Bernie Jarboe'a “Night hawks.” Dining room. Beer kA ■ arden _ OVJC Sum. and Hoi., TSe a Fret Forking ot Wharf • POTOMAC V RIVER LIRE / \ 7th & Water Sts. S.W. I NAt 7722 V A K"7a$T ... FURIOUS \ /> , k md FDU ,| FUN! TODAY! F These gay stars of “Love Is 4n large > N^. rations love this f W* exciting romance . . . that's with sus* gl | 1 ^ pense as VAUDEVILLE ut ltCUOH | ^-Sjohnny PERKINSI Sheila BARRETT,.*::;:::.-,. I WALTER and PAUL BRIANT I "A delirious novelty” V sm ANN McCIBE MANN DUPREE MD LEI I **Sonf Stylist” "Sophisticoted Rhythms” Bj EXTRA—WILLIE HOWARD in "AFFAIRS OF PIERRE" %%% i t ^ ii i i — wqgw mwU^S>r9f9^ ss?*5? I mimwki.m$g-: TODAY!. . . Paging oil FUN-LOVERS! ^ v 1 Killed the Man My Daughter Kissed!.. Could any mother at by ad , 1 ae* her da ugh (era Lift wrecked / /THr^T^i mhtrowalmd beta?The*. * 7 wm only at way to Mop ^ him. She took it... aid raked the oae thing that wm dearer to her than life! Waa her tKrifice to he in vain, or would the future bold • hap yin mi the put denied? tfhal Woman Could BlamoHer Kcuf FRANCIS Qr£uMm lAN^HUNTER . BASIL RATHBONE JANl BRYAN . DONALD CRISP . NARY NACURS FRESENTED BY WARNER BBOt THE OEBONAIRS 1 and EMILY VON LOESEN ROSS WYSE, JRjvith JUNE MANN I MARJORIE GAINS WORTH—4 VESPERS Warnor Bros. “BEST FUM OF THIS SORT SINCE ‘TRADER | HORN ‘Liberty Magazint TODAY | m M t«N» « MdtuMt Ml MW Mm «n*nMavHMr.. ****** Mi • M 4 M WvttM RM-ll M UK KING , OLOMONS MINES A C—mi'hmA tm* *)k Ate _ II CedricHARDWICKE ANNA LEE ^?®Silp| ROLAND YOUNG C - & TRANS-LUX IM>* Ik*** NEWS: WAR, SPORT i* MARCH OF TIME S SHORT SUBJECTS a _ ■ rr»TOD*Y k f •1' U ° A 4*1 w I *U l «*\ ^m«iN\.V5\ ' f ROPEYI vs. SINBAO D 1936 Priit Color Cartoon / IakHGAYETY AMVOEXCES That He Will Re-Open His Season, Starting This Sunday Matinee With the 6L0RIFIED FOLLIES Foal wring NONA (Dynomic) MARTIN AND ! Max Furhman and i George Murray j Ail Ptrtormonctt for Adults Only THEATRE PARKING • P.M. TO 1 A.M. jjC CAPITAL GARAGE &*»l3y One Hour Drive—Free Parking Seashore Attractions—Amusement' f requent Daily Bus Service From 40.1 11th Street N.W. For Information Call NAt. B?13 | II ' i PREMIERE AUDIENCE LAST NIGHT HAILS SCREEN'S GREATEST MASTERPIECE Think Yen Washington. Thank Yea Critics fe* Year Spontaneous Applause and Plaudits . . . / Virntt Bmj Proudly Prwent •ss^mbn: m Oar tf lit fat Giml Pmtmtm All Tim I III wuo m cml §j i MtostULs NOW SHOWING Two Performances Daily 2:30 & 8:30 p.m. Tickets Now On Sale for All Performances Box Offue Opens Daily at 9 a.m. NATIONAL THEATRE MUCES (INCLUDING GOVT. TAX* Mitint*—»t—«Je—I.IO Evening*—We—*3c—146—4.0 ijl -«A«S IN ADVANCE—RESERVATIONS BY EHOK1 ‘“'KEITH'S* ★ NOW_! be will bring you everything you'd with fW’j for . . . *wjl ROMANCE! Y/f\ &== LAUGHTER! %/* SONGS! BOBBY BREEN (|* 8 asilVathboni MAKE A WISH wjfi mmle ty OSCAR STRAUS AN R. K. 0. RADIO RICTURI RIATURINf II MARION CLAIRE HINly A R M E T T A DONALD MEEK ^ UlfH lOtlll Comtng * 'The LEFT of the PARTY" with Joe Penoer e Gene Raymond Parkyaharkue e Harriet Hilliard e Helen Broderick e Victor Moor* ACADEMY of rt"SX E. Lawrence Phillips' Theatre Beautiful Continuous From 4 Mo P M. ! PAT8Y KELLY and LYDA ROBERTI to “NOBODY'S BABY.” OTTO KRUGER. LEONORA CORBETT In “LIVING DANGEROUSLY.” pADAl IN A 1,,h »nd N- c- At« tAMIUllA Air-Conditioned ROBERT MONTGOMERY and ROSALIND RUSSELL In ' NIGHT MUST TALL."_ pIOpI r Home of Mirrophonie Sound. UALLL Penn*. Are. at Slat St. Matinee* Tun.. Thurv. Sat.. Sun. MARX BROS . ALLAN JONES MAUREEN O' SULL1 VAN in "A DAY AT THE _RACKS. '_ DUMBARTON 1343 w,,e#n,i" *"• Carrier Air-Conditioned PATSY KELLY JACK HALEY in "PICK A 8TAR." News and Comedy._ TAIPV AWN ANACOSTIA, D. C. rAHVLATTn Air-Conditioned LLOYD NOLAN in "KING OF GAMBLERS" I inn 3**7 M St. N.W. LtlUxJ Double Feature WILL ROGERS in AMBASSADOR BILL." JACK RANDALL in RIDERS OP THE _OAWNT___^ I ITT! r 608 9th St. N.W. 1 I LL Air-Conditioned GARY COOPER and JEAN ARTHUR in “Mr. Deeds Goes to Town.” PPINpCCC " TilB H St7N.E. TaVIlaa-Coo Double Feature OAIL PATRICK in “JOHN MEADE S WOM AN " JOAN PERRY in "COUNTER FEIT LADY."__ ccpo RT14 Georgia Are. ““v" Sllrer Spring. Md. Continuous From (t oo PM. “SLIM,” PAT O'BRIEN and HENRY FONDA. “YOU CAN’T BUY LUCK,” __All-Star Caat. QTANTftN 6th and C St*. N.E. w I Ail 1 i/ll Finest Sound Euuinment Continuous From 6:MU P M ROBERT MONTGOMERY and ROSALIND RUSSELL in . “NIGHT MUST FALL.” TAirnMA 8th and Butternut St*. 1 Altl/iVl A No Parkins Trouble* buw. u. kubinsun ina Berne, uavioiu “KID GALAHAD.” Selected Short Subjects. Tomorrow, Continuous From 1 00 PM — KAREN MORIaEY In GIRL FROM SCOTLAND YARD. ’ GEORGE O BRIEN In 'HOLLYWOOD COWBOY.” STATE-BETHESDA *Betbee7e!’ Ml' I JACK HEALY in I “PICK A STAR.” CHARLES STARRETT in “DODGE CITY TRAIL.” News, Cartoon and Serial. NEWTON 1,u AT _ Alr-CaalltliMi. “The Singing Marine,” _ DICK POWELL._ W JESSE THEATER "SSif Carrier Air-Cendltlened —5 “Captains Courageous,” JJJ FREDDIE BARTHOLOMEW, s S CVIVAM HI »"d E. L Are. N.W. ' 2 SUiVAn Carrier Air-Cendltlened s “SUPER SLEUTH.” bd _ JACK_OAKIE. ANN BOTHERN.__ , CO PALM THEATER d*H-arat ' “NEW FACES OF 1937,” JOE FENNER. HARRIET HILLIARD ARLINGTON, VA. HD! CAM liM Wlleen Bled. fflLjUn Onn. Celeniel Yillere JEAN ARTHUR end EDW. ARNOLD in , "EASY LIVINQ.” | ACUTAN Clarendon. V*. AOtllUn CHARLES STARRETT la ■ WEBTEOPWD HAlLT7 f AMBASSADOR VK&U* MARX BROTHERS. ALLAN JONES MAUREEN O SULLIVAN In ' A _PAT AT THE RACES "_New. _ A pm i n MI H st. K.K. ATUL.1.1F Phone Line. S37S LLOYD NOLAN. CLAIRE TREVOR m _1 KINO oP_GA.MBLER.S_ __ "AVALON 861 * 2Boo " w L®CLSi.SftI1-LO MARY CARLISLE In _HOTEL HAYWIRE _ Short _ AVENUE GRAND §g Z£j£j Edward everett horton i - _ WILD MONEYT_Short Sublet fAI VFRT Wiaeansin Are. LALTtni Cleveland 2345 Matinee. 2:00 P.M. T j 'SAN QUENTIN ' with PAT O BRIEN QC _and HUMPHREY BOGART_ U fFNTRAI 4-ft st. n.w. Lm LUl 1 URL Phone Met. 284! ‘T! LEO CARRILLO MARY CARLIPI E <3 In "HOTEL HAYWIRE " Short U fOI ONY 4935 Gm" Aee. N.W. "P" VJv,. , „ .* Geo. fiftOO •C LEW AYRES. DOROTHY IJtMOUR In Lm LAST TRAIN FROM MADRID Also Short Subjert HDIMF i*3o c st. n.e. . • IWITIE Phono l.lnr. 10280 i/2 LEO CARRILLO MARY CARLISLE Q _In "HOTEL HAYWIRE _Shnri_ og PENN 6ad &,".*-,ftS“• QQ Matinee. 2:00 PM. MARLENE DIETRICH and ROBEP"" DONAT In KNIGHT WITHOUT eyA ARMOR " Alao Short Subjert_ S QAVftY 3030 14th St. N.W. MIUI Phone Col. 4968 Z "EMPTY HOLSTERS." with DICK ^ FORAN. Also Short Suh-ert_ < SHERIDAN St*' N.W. Ea'n'*21*00 Matinee. 2:00 P.M. Brought Back By Popular Demand Return Engagement BING CROSBY. W. C FIELDS In •‘MISSISSIPPI/' Also Short. TVvnVT 14th st* * p*rk n.w. llVV/Lil Phone Col. 1800 Shors Continuous From j :4& Alr-Condit loned MARLENE DIETRICH and ROBERT DONAT In KNIGHT WITHOUT _ARMOR.’’_Also Short Subject. IIPTfiWN f'onn- and Newark uriunn st. n.w. cie?. 5400 Matinee. 2:00 FM FRED MacMURRAY and FRANCES FARMER In ‘ EXCLUSIVE. Short. VfiPIf Ga. Are. and Qneheo IUIVIV Place N.W. Col. 4818 FRANCHOTTONE. VIRGINIA BRUCE. \ MAUREEN O’SULLIVAN In 1 BF ■ * TY VJilH OflOrt. HIPPODROME Tnday-Tnmnr. ‘ CLARK GABLE and MYRNA LOY in ^ “PARNELL.” 2 CAMEO j MARX BROS, in “DAY AT THE RACES.” 2 ARCADE Today*’ ****' g F. BARTHOLOMEW and a S. TRACY in 71 “Captains Courageous.” 5 RICHMOND ^dt^LV*’ Pat O'Brien and Humphrey Bo*art In "San Quentin." 5 PFPn ALEXANDRIA. VA. © RLLU Today-Tomor ~ RICHARD CROMWELL « in “THE ROAD BACK.” Jg Free Parkin* Space—son Car*. _Completelr Air-Conditioned._ MILO ROCKVILLE, m. Edward Arnold and Je*n Arthur in “Easy Livine." AIR-CONDITIONED. Pree P»rkln*. FALLS CHURCH. VA. STATE LEE IRAN HARLOW and I BOB STULE CLARK OABLE In I fit TkUStTD SARATOGA." I OUTLAW.'