Evening star. [volume], September 25, 1937, Page C-22, Image 44

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
“Dead End” Is Striking
Film Fare at Palace
Exciting Story, Shot With Thrills,
Told With Marked Fidelity
To Great Stage Play.
BY JAY CARMODY.
(i 1—v EAD END,” which tells the tale of gangster growth in the sewer
I \ irrigated slums of the United States, is one of those finely eloquent
I 1 films which every adult should see. The picture which bears the
—* stamp of Samuel Goldwyn does more than honor to Sidney
Kingsley’s stage play, a play in which society got a powerful stinging for its
contribution to the upper crust of criminaldom. All the tenseness of the orig
inal drama is retained and there are •:*-——
mieivuus wnen uie laiger scop Ui me
camera seems to make it an even more
forceful snarl at the stupidity of the
nicer citizens.
In telling the story of a fascinating
group of young hoodlums, and how
they grew in one of the ugliest neigh
borhoods you ever saw, the screen
manages to preach a powerful sermon
without ever failing in the function
of being entertaining. The locale of
the picture, like that of the play, is
one of the brightest dark thoughts any
playwright ever had. It is a slum with
a sewer-flavored river that lies at the
feet, so to speak, of those swank
apartment houses along the East River
in New York. The rich and poor are
neighbors, and what neighbors you
can best find out by getting down to
Loew’s Palace right away!
Central figures in the story', of
course, are the dirty, unkept kids in
the block gang. Out of homes where
food is scarce, but vermin plentiful,
they gather in the shadows to learn
the arts of stealing, fighting, gam
bling and racketeering. They have
to battle life for everything they get
and the methods of fighting are those
which society nourishes to its enorm
ous regret. There’s no obviov.: tend
erness for the kids on the part of the
playwright in "Dead End,” but he is
even more strong in his feeling of
condemnation of the circumstances
which victimize them.
* * * *
'pOMMY, Spit, Milty and others of
1 the gang, boys more to be pitied
than censured, are like nothing else
you've ever seen on the screen, but
you will be glad to see them. There’s
good as well as evil in them, and
laughter as well as tears in their story
as it unravels in the film.
Excellent casting, one of the Gold
wyn specialties, is all over the screen.
Sylvia Sidney is a pretty, intelligent
and altogether winning “Drina,” the
older sister, who is trying to lick
the economic system with one hand
and keep young Tommy straight with
the other. Joel McCrea is quite an
acceptable performer in the role of
the former slum kid who became an
architect and starves %ith a line
sense of moral values while trying
to keep a modicum of order among
the oncoming generation.
Humphrey Bogart plays ‘‘Baby
Face” Martin, the greatest killer of
his time, to achieve one of his finest
effects since he was Duke Mantee
in "The Petrified Forest.”
The six kids, who probably will be
referred to always that way, are
played by the six kids who gave such
splendid performances in the original
stage play. Other parts, of which
there are enough to stock a small
sized city, are capably handled by
such persons as Wendy Barrie, Minor
Watson, Allen Jenkins and Claire
Trevor. The latter, as the tainted
sweetheart of the killer’s lovely
dreams, gives an excellent perform
ance in one of the smaller but most
difficult characters in the drama.
* * * *
'Y'HE action that takes place on the
odd stage of "Dead Bind” moves
at a pace which should satisfy the
most avid taste for thrills. In fol
lowing a nearly literal translation
of the original Director William Wy
ler has wasted not a moment in get
ting on with his story. The camera
gives to some of his scenes greater
movement and force, one of them
the meeting between "Baby Face”
and his school-days sweetheart, r.n
other the killing of ‘‘Baby Face” by
the inexorable G-men. It misses the
excellence of the stage portrayal,
however, in the poignant, violent
meeting between the killer and his
mother.
The film can afford to miss even
at such an important moment, how
ever, for it has everything that goes
for superlative story telling.
I
Cagney Back
In New Film
Musical
“Something to Sing
About” Opens at
Capitol.
BY HARRY MacARTHUR.
OLLYWOOD has taken to
looking at itself with a nice
degree of candor on occasion
here of late. “Something to
Sing About,” the new picture at the
Capitol, takes up the matter of pub
licity romances and their relations
toward what could be such a happy
life for the people involved, and it
does not paint the manners of this
certain phase of movie making in any
too happy a light.
"Something to Sing About” does
not become serious about all this, of
course, for it is supposed to be a light
comedy romance with music. Not
only is it supposed to be, but it is,
and Mr. James Cagney makes his
return to the local cinema front a
thoroughly pleasant occasion. But
through all the good humor of the
film Holywood keeps taking jibes at
Itself.
In addition to Cagney, cast as a
lad who goes to Hollywood to become
a sensation, there are the lass he
loves and marries, played by Evelyn
Daw (a newcomer who can sing),
and a producer and publicity chief.
The script writers seehi to have felt
it was a fine opportunity to even
scores with publicity chiefs and pro
ducers, for they have taken a couple
of from-the-floor swings here. The
studio head (played in fine fashion
by Gene Lockhart) is a chap whose
idea of the best way to build a star
is to tell him he's terrible, so he
won’t sign with another studio, and
the tub thumper (William Frawley)
is not above promoting a fake ro
mance that causes a lot of misun
derstanding.
It all comes out happily, though,
and makes for thoroughly agreeable
film fare. Mr. Cagney goes back to
the hoofing that started him on his
career, makes love graciously, has a
chance to battle boisterously; Miss
Daw sings the music of the piece
in a nice soprano, and the other
players do their chores honestly.
aoo Crosby and his band provide
the top moments of the stage show,
contributing their views on the man
ners of modern music. The lads do
well with modern music, too, and
their arrangements are top notch,
“Twilight in Turkey” and “St. Louis
Blues” (which is still modern for
our money) being some of the best
listening in recent weeks on local
stages. We w'ish Mr. Crosby wouldn’t
clutter up “Remember Me?” with
that comedy business, but the people
seemed to like it, so here’s a shrugged
ahoulder.
Also pleasant on the bill are songs
by Kay Weber (part of the Crosby
turn) and the comedy business done
by Hal Sherman, eccentric dancer.
The bill is opened by a capable trio
of wire artists, if that will fascinate
you. And the wire artists are pre
ceded by a pleasant overture by
Mr. Phil Lampkin, who this week
enters into no quarter-hour mara
thon but contents himself with a fine
rendition of "Poet and Peasant” over
ture.
“Look Alikes.”
f)OUBLES, or “look alikes,” for
practically every famous star in
Hollywood appear in Columbia’s “It
Happened in Hollywood.” Their pres
ence on the set made it so confusing
to visitors that many of them ac
costed Richard Dix, star of the pic
ture, and said: “You look more like
Richard Dix than he does himself.”
“Perfect Lawyer.”
QTTO KRUGER, who plays the
famous criminal attorney in
“Counsel for Crime,” the Columbia
picture, Is called the perfect type
for attorney roles in Hollywood. He
haa portrayed more screen attorneys
than any other Hollywood star.
*
Where and When
Current Theater Attractions
and Time of Showing.
National—“Susan and God.” new
Rachel Crothers comedy, with Ger
trude Lawrence: 2:30 and 8:30 p.m.
Earle—“Souls at Sea,” stirring sea
drama: 10:30 a.m., 12:40, 2:55, 5:15,
7:30 and 9:50 p.m. Stage shows:
12:10, 2:25, 4:45, 7 and 9:15 p.m.
Keith’s—"100 Men and a Girl,”
musical with Deanna Durbin and
Leopold Stokowski: 11:50 a.m., 1:50,
3:30, 5:30, 7:50 and 9:50 p.m.
Capitol — "Something to Sing
About,” Jimmy Cagney returns In a
musical: 11 a.m., 1:40, 4:25, 7:10 and
9:55 p.m. Stage shows: 12:45, 3:30,
6:15 and 9 p.m.
Palace—“Dead End,” Samuel Gold
wyn's screen version of the Sidney
Kingsley play: 12:05, 2:30, 4:50, 7:15
and 9:35 p.m.
Metropolitan—“They Wont For
get,” powerful screen version of the
novel, “Death in the Deep South”:
11 a.m., 1:05, 3:15, 5:20, 7:30 and
9:40 p.m.
Columbia—"Thin Ice,” S o n j a
Henie's skates flash again in a com
edy romance with music: 11:50 a.m.,
1:50, 3:50, 5:50, 7:45 and 9:45 p.m.
Trans-Lux—News and shorts. Show
runs 1 hour and 15 minutes, continu
ous from 10 a.m. until midnight.
Little—"Forever Yours,” musical ro
mance, introducing to the screen Ben
iamino Gigli: 11 a.m., 12:15, 1:50,
3:30, 5:05, 6:40, 8:15 and 9:50 p.m.
Ambassador—“Wee Willie Winkie,”
Shirley Temple’s version of Kipling’s
young hero: 1:30, 3:40, 5:55, 7:40 and
9:35 p.m.
Penn—“Love Under Fire,” the war
in Spain provides background for a
comedy-romance: 1:25, 3:40, 5:55,
7:45 and 9:40 p.m.
Sheridan—“The Road Back,” Eric
Remarque’s postarmistice Germany
in cinema form: 1, 3:20, 5:40, 7:40
and 9:45 p.m.
Tivoli—“Love Under Fire”: 1:50,
3:55, 6:05, 7:50 and 9:40 p.m.
Uptown—“Love Under Fire”: 1:35,
3:45, 5:55, 7:50 and 9:45 p.m.
Deanna’s Musical
In Third Week
^FTER going into ecstatic hysterics
over young Miss Deanna Durbin
in her first film and watching it take
up a mere week of R-K-O Keith’s
time, it is extremely gratifying to see
the lass come along in her second
time out and turn in such a walloping
performance in a grand vehicle, “100
Men and a Girl,” that it stays now for
a third week. If you have not yet
seen “100 Men and a Girl” you have
been cheating yourself out of one of
the most entertaining of the year’s
films, in fact one of the most enter
taining musicals ever fabricated in the
Hollywood picture factories.
“One Hundred Men and a Girl” has
none of the cliches which make this
month’s musical a group of new faces
and new songs in last month’s musi
cal and it has everything that makes
for enjoyment in the cinema. To be
gin with, it has a story that is warm
and human, a pleasant yam about a
young girl who tries to find the proper
niche in this world for a hundred
out-of-work symphony musicians, and
it will warm the cockles of your heart,
in turn make you laugh and bring a
lump to your throat.
Musically the film is top-notch, both
from the standpoint of selections in
cluded in the score and recording.
The screen has never sounded lovelier.
Leopold Stokowski is on hand, to play
himself with amazing ease and to
lead his Philadelphia Symphony in
some of the most thrilling musical
moments ever to hit a sound track.
The music—including Mozart’s “Alle
luja,” Liszt's “Second Hungarian
Rhapsody” and selections from the
works of Wagner and Tschaikowsky—
is an integral part of the story, too.
and not just something dragged in
by the heels. Mr. Stokowski truly has
found the place for classical music on
the popular screen.
Yes, and Miss Durbin is some one
not only to write home about, but to
sing and dance in the streets about.
When she lifts her voice in song the
cinema is giving you of its best. H. M.
A
Rhythm His Forte
CHICK WEBB
Brings his well-knoivn torrid tunes to the Howard Theater,
where he and his orchestra are headlining the week’s stage show.
Souls at Sea” Drama Just
Misses Being Great
Shipwreck Scene Smacks of
The Spectacular at Earle.
Melodears Score Again.
BY ROBERT B. PHILLIPS. JR.
IN THE opening scenes of ‘’Souls at Sea" are definite suggestions of a great
maritime drama the equal of ‘‘Mutiny on the Bounty.” Quite directly
thereafter the new picture at the Earle dispels that illusion, and becomes
merely the ghost of its promised self.
There is no proper reason to lay a harsh indictment upon "Souls at
Sea" merely because it happens not to be a magnificent and stirring drama.
It is amusing, at times thrilling, and* --——
to those who catch the full implica
tions of the expositionary scenes, a
truly remarkable story. The touche
magnifique, nevertheless, is not there,
and for our pleasure we must conse
quently depend upon Gary Cooper,
George Raft, Henry Wilcoxon and a
few rather inadequate actresses,
among them Prances Dee and Olympe
orauna.
The character of a young man ro
mantically opposed to the establishec
order of things (viz. O'Hara in "Thi
General Died at Dawn”) is particuarh
becoming to Mr. Cooper, while nothin!
in particular seems to become Mr
Raft on this occasion. Better thar
either of them, however, are som<
touches of realistic melodrama dur
ing the shipwreck scene, and, un
popular as this statement may b<
among the worshipers of matinet
idols, the histrionics of one Geog<
Zucco, who plays the role of Woodley
"Souls at Sea” is a tale of a ven
turesome seaman who, single-handed
attempted to run the African slav<
trade on the rocks, the shoals, or what
ever was handy at the time. Histori
cally, it is based on a miraculous yarr
of a lad who almost equals the feat ol
the famed Capt. Bligh in keeping s
small boat afloat upon the ocean foi
many days, except that, in this case
the head man (again our Mr. Cooper)
is supposed to have knocked off 1{
members of the party, as time anc
conditions warranted in his judgment
Later, he was brought to trial for thu
and, as the cinema people tell us, ac
quitted as a hero, one destined to gc
around sniffing roses and leading the
happy life with a lass of his own
choosing.
* * * *
gO OBVIOUS is the stage attractior
at the Earle this week that il
needs no ballyhoo here. Consists ol
Ina Ray Hutton and her Melodears
one of the better girl bands on the
vaudeville circuit, led by a young lad)
who always has been a big hit ir
Washington, and don't ask why. Mis;
Hutton works hard, can dance anc
sing when necessary, and, upon occa
“War” Explained
At Trans-Lux.
^LTHOUGH a review of the Trans
Lux newsreel array would appear
to be a celluloid discusion of war and
its horrors for a number of weeks now,
the current bill presents a more illum
inating picture than usual. The
March of Time headlines the sub
sidiary array, presenting a back
ground offering possessed of the usual
March of Time coherence, with China's
progress during the past decade de
pict in concise fashion. The ex
planatory tone of these reels persists,
and the bombing and shooting in the
Orient are explained most clearly
through the pictorial medium.
The regular edited news program
highlights foot ball, a subject aboul
which most of America is talking in
these days of chill and falling leaves
but other sports activities have been
accorded recognition—college girle
learning the mysteries of Jiu-jitsu,
Jacqueline Cochran setting a new fly
ing record, the international fishing
contest in Nova Scotia. There are
other items, of course, among them
Wall Streeters flying from home tc
office, the young Franklin Roosevelt!
settling down after a European
honeymoon, The American Legior
participating in its annual session oi
merriment in New York City, beauty
tips for the ladies from a Hollywood
expert.
In addition to the March of Time
the short subject line-up offers s
pictorial treatment of Mexico’s coloi
In costume. The sea’s numerous mood:
»re depicted in technicolor, and the
lighter touch is supplied by a color
:artoon, in which is demonstrated the
alleged aversion of wild animals foi
harmony In musia. C. A. M.
sion, has been known to whip the audi*
ence into a fine frenzy, considering
that they are all paying customers.
Fear not the stage end of the Earle's
bill. Only the picture will leave you
wishing that it might have lived up
to its promises.
Prejudice The
Powerful Filn
*
New Mervyn Le F
“They Won’t Forg
Explosive Subject.
Note: In view of the theme
prejudice related in unusually stro
ing experiment to have it reviewei
the Mason-Dixon line. Mr. Phllh
line point of view.
BY JAY CARMODY.
HE melodrama that is meat to
Warner Brothers and poison to
other picture producers ap
pears on the screen of the
Metropolitan this week as a powerful
and exciting bit of story-telling called
“They Won’t Forget.” Fearlessly, and
with a fine sense of dramatic values,
Director Mervyn Le Roy has ventured
into the comparatively virgin territory
of sectional prejudice to find material
which is explosive as well as enter
taining. Movies usually are made of
lighter stuff and not often enough are
they made so well.
“They Won't Forget” is a film that
is all story. Le Roy was so certain,
and rightly, one thinks, that it was
enough that he did not even consider
a box-office name in the making of it.
Prejudice of the South against the
North, and to some extent the reverse;
sensationalism in newspapers, political
chicanery and circumstantial evidence
are the major items examined by this
film in terms of remorseless truth
seeking. All of them are shown in
unprepossessing form in a film that
probably will be unforgettable.
Girl meets death, instead of meeting
boy, in this film laid in a Southern
locale. A Northerner is suspected by
the politically ambitious prosecuting
attorney. The latter figures a con
viction is the open sesame to the gov
ernorship. His evidence is too weak to
stand alone, so sectional hate (the
ghost of the Civil War) is Invoked to
aid the case against the suspect. The
press of the South takes up the sen
sational tale and that of the North
retaliates. The war, cruel, stupid, in
human, begins all over again. The
picture shows it in all its cruelty, stu
pidity and inhumanity down to the
sensational prelude to the lynching,
which terminates the case against the
questionably guilty man.
The grimly accented narrative gives
Claude Rains a part that is one of
the finest of his career, even if (but
why quibble?) his Southern dialect
occasionally has a fajpt Oxford tinge.
Mr. Rains’ prosecutor is one of the
most despicable products of local pol
itics ever to reach the screen, and
represents a eorrelatlvely fine per
formance. The remainder of the cast
is composed of persons of whom you've
never heard, but Gloria Dickson and
Allyn Joslyn are two you will want
to see again.
As to the opinion that the savage
document may discriminate too much
against one section, it is the feeling
of this comer that Warner Brothers
could have picked the same kind of
prejudice off the humans who grow in
the North, tra la.
It would be a potent dose regardless
of the dialect spoken by the charac
ters. You’d better see it.
me Makes
i at Met
toy Melodrama,
et,” Has
of “They Won’t Forget," sectional
ig terms, it was deemed an interest
l by representatives of both sides of
ps‘ review represents the below-the
BY ROBERT B. PHILLIPS, Jr.
ffFT"\HEY WON’T FORGET” Is
I a courageous picture and
A a deceptive tone. It dares
to step outside the pretty
patterns of Hollywood thought with
incredible vigor. At the same time, in
playing with tabooed ideas about
man’s inhumanity to man, the new
film at the Metropolitan Theater has
made the bold assumption that all
America’s evils are native to one
section.
By implication the story flays lynch
ing, ambitious politicians who use
criminal trials to make their repu
tations, the irresponsible sections of
the press, which indulge in mob
baiting, the meaner natures of men
which make them lie and cheat and
dissemble to hurt one another. (Quite
a large qrder of flaying, what?) More
directly it attacks the sectional preju
dices of Southerners, suggesting that
they still relish nothing quite so much
as a good old necktie party with a
Yankee as the guest of honor.
There has been some talk to the
effect that the Warner Bros, would
not dare exhibit this picture very
far south of the Mason and Dixon
line. If they do follow that timorous
policy, they are losing the opportunity
to stir up more fuss than has been
seen around since Fort Sumter. No
Southerner who has lived in a small
town, or a large one, can fail to
recognise here many, many authentic
revelations of the lives and souls of
those who were his fellow townsmen.
Nor could he. by the same token, fail
to get a grim chuckle out of the
Northerner’s idea that there are still
rebels lying In ambush for them.
At the core, "They Won’t Forget”
1s not so much a story about the South
a ( a c t An' a hm I i ▼ : 1_
“Fury,” it is unafraid in showing us
I our country without benefit of glamour
and fancy make-up. (If, perchance,
you think the sectional angle of the
story is so correct, recall the recent
Denhardt case in Kentucky.)
Some day, perhaps, you would like
to know about the plot? It is merely
a tale of a little Southern girl who
I is murdered and an unhappy North
ern youth who is railroaded to death
by an ambitious prosecuting attorney.
With the possible exception of Claude
Rains, there is not a box office name
in the cast. And with the possible ex
ception of Mr. Rains, there is not a
bad performance in the lot. The others
are Gloria Dickson, Otto Kruger, Ed
ward Norris and Allyn Joslyn,
If nothing else can persuade you
to see it, let me say that it provides
the best meat for argument we've
had since the Warburgs tried to ex
plain the gold standard.
like most screen villians. In private
life he seems just as somber as his
celluloid self. I expected him to pull
out a gun all during dinner. But he's
really very gentle—in spite of his nick
name, 'Bogey.”
Wednesday . . . “The Bride Wore
i Red"—or was it “saw red"?—preview.
Joan Crawford is supposed to sneak
in by the back door of the theater,
but prefers to air her new clothes via
the front entrance on the arm of
Husband Franchot Tone. In the film,
Joan flaunts new thick eyebrows with ]
which she hopes to change the female
face divine. I hope not.
(Copyright. 1937, by the North American
Newspaper Alliance, Inc.)
“Thin Ice” Returns
To Play Columbia.
VJI8S SONJA HENIE probably Is
very happy about It all. If she
paid any attention to the citizens who
shrugged her off as a "one picture
flash” when her first film was made,
the blond queen of the ice has the last
laugh now. For her second starring
vehicle. "Thin Ice” now at the Co
lumbia for a second week on F street),
finds Miss Henie better than she was
the first time. Her personality is
vibrant and salubrious and there is
a warmth about being familiar with
it that makes up for the fact it is no
longer a new bright nugget you have
come upon in your gleaning through
the cinema's gravel.
Sonja has improved as an actress,
too, and gracefully carries the burden
placed upon her by her role as the
heroine of a light comedy romance
with music.' Easily she walks off with
her share of the honors in a cast
which includes such able film per
formers as Tyrone Power, Raymond
Walburn and Arthur Treacher, and
skillfully she shoulders her share of
the burden of the pleasant yarn about
a young prince who traveled incognito
and wooed and won a lovely skating
instructress.
“Thin Ice” is a completely enjoy
able light entertainment all the way
but it has its high lights that stand
out. Miss Henie's superbly graceful
skating, Joan Davis’ comedy song
turns and some of the comic sequences
contributed by Mr. Walburn are things
you will remember. H. M.
^r
InTeMOn"’”n
BOB CROSBY. I
and hit ORCHESTRA |
SYLVIA SIDNEY » JOEL McCREA
LojPMBB'li'JVmiUl
mf SONIA J TYRONE
HENIE ^POWER
•thin icy
Lovely DEANNA DURBIN
TINMEN and a GIRL”
LEOPOLD STOKOWSKI
ADOLPHE MENJOU
ALICE MADY • MUCH* AUER
A Ht* IDITION Of
"THE MARCH OF TIME"
■MMOM emu* IA»AJI WA«
WIMf . . .
FALTER WANGER'S VOGUES »l 1931
All I* ADVANCED TECHNICOLOR with
WARNER ItlTEN • JOAN •ENNETT
•hd Mott P7>oto*rapfc«d ftute Mi Bi« Warldf
TRANS-LUX 14«i I lb . AY ..
NEWS: LEGION. WAR k
| Gonma Win*. Races. ■
** MARCH OF TIME IJ1a(| 1
MLCCTEO SHORTSUBJECTsffy
COLONEL JIMMY LAKE!
G A Y E T V
STARTING Sl'NDAY MATINEE
HARRY iHICKY' LE VAN'S
BOWERY BURLESQUERS
WITH
BILLY FOSTER, EVELYN WHITNEY
AND
_PEARL MYLIE_
I COOOOOOOOOOOOOOOOOOOOOOq
i g MRS. DORSEY'S 1937-38 ]]
CONCERTS
I at Constitution Hall—18th and C Sts. ,
EVENING SERIES <5 Toe*, eves, at ,
8:30): Rachmaninoff, Salxburg Opera
Guild. Krei*ler, Gina Cigna, Flagstad.
1st SUN. SERIES <6 Sun. Aftn* at
4:00): Ponselle. Iturbi Heifetx. Fin
nish Chorus. Pons, Nelson Eddy.
2nd SUN. SERIFS <6 Sun. Aftns at
4:00): Martini. Cossack Chorus. Men
uhin. G. Moore, Tibbett, Brailowskl.
Series tickets (20% deposit accepted): \
*3.30, 94.95. *6.60, *9. *12, ine. tax.
Mrs. Dorsey’s Bureau. 1300 G St.
(Droop’s), NA. 7151. Aek for e 1 rentsr.
j.
LAST TWO TIMES
TODAY AT 2:30, TONIGHT AT 8:30
John Golden
presents
Thp International star
GERTRUDE LAWRENCE
In a RACHEI, CROTHERs Coined?
“SUSAN AND GOD”
with
paul McGrath
N I r k t—Orchestra. $2.00. Balcony
(tlrat six row*). $1.50. (next « rowa).
$1.00. 2nd Balcony. 50c. Pin* Tax.
Matinew—Orchestra. $1.50. Balcony.
$1.00. 2nd Balcony. 50c. Plot tax.
^ ~5 TOBAT-Nrc Own it 18 A. S~
Feature 10 30-12 40 300 - 515 - 7 30 - 9 «J
GARY COOPER & 6E0R6E RAFT
•$: In Paramount t
: “SOULS AT SEA”
. • —On Stag*—
INA RAT HUnON
A and Her Melodears_
NOW SHOWING
TUI'S MOST KAMATIC WTUIE
“THEY WON’T FORGET”
I bn* U hi Mn hi tom tmm
WIN
ACADEMY0'Per'8^ m™Ve°*obI"
E. Lawrence Phillips’ Theatre Beautiful
Continuous Prom 1:00 P M.
JOAN BENNETT and CARY GRANT in
“WEDDING PRESENT.”
“THE FIGHTING TEXAN,”
With KERMIT MAYNARD.
TARnilNA n,h »"a N- c- Are. S.E.
UtlUlUllA Air-Conditioned
HARRY CAREY and EDWINA BOOTH in
"TRADER HORN.’ Also "Three
Stooges" Comedy.
PlPPf C Home of Mirrophonic Sound.
CinCLL Penna. Are. at 21st St.
Matinees Tues. Thurs.. Sat.. Sun.
LARRY CRABBE JUNE MARTEL. FOR
LORN RIVER." Comedy. Cartoon.
DUMBARTON 1343 WUton*in *«•
„ Carrier Air-Conditioned
DICK PORAN PATRICIA WALTHALL in
EMPTY HOLSTERS " Chapter No. in.
Vigilantes Are Coming " Also Comedy.
FAIRI AWN anacostiaTd. c.
iirw -TtV™ ™ Air-Conditioned
WM. BOYD in "TRAIL DUST
i inn 3227 *• s»- n.w.
“tAf Double Feature.
TIB, THREE MESQUITEERS." Also
_POME ON. COWBOYS."
IITTIF 60S Mb st. nTwT
“ * * Air-Conditioned
BENIAMINO GIGLI in
“FOREVER YOURS.”
PRINPFW iii» h «t. w.b.
msr Double Feature
MADGE EVANS In "THE l.TTH CHAIR"
TOC RITTER In "TROUBLE IN
IbaAq._
crrn Georgia Avr.
■JE.V.U Sheer Spring Md.
Matinee. 1 :00 P.M
“RIDING ON AIR,”
JOE E. BROWN.
‘HILLS OF OLD WYOMING,’
WILLIAM BOYD.
_Chapter No, 7. "Jungle Jim."
STANTON *nd c Sta. N.E.
m t, vie Finest Sound Eaulpment
_Continuous From 1:00 PM.
“THE ACCUSING FINGER,”
I
JAUK OAKIE in
“SUPER SLEUTH.”
RICHARD DIX in
EDW. EVERETT HORTON In
_ “WILD MONEY.”
HIPPODROME * 9th~
Continuous 2 to 11 P.M,
Dorothy Lamour. “Last Train From
Madrid.” Ann Sothern. “There
| Qoes My Girl.”__
. CAMEO MT BAWIEB MD
Xfi Now Showing
^ Official Motion Pictures
pJ CARNIVAL OF CHAMPS
^ BOXING BOUTS.
U Cont. Noon to Midnight.
§ Also Ray Milland in
S “Wings Over Honolulu.”
^ A Dr Am? htattsville, mdT
AAUWL Double Feature
(fa Robert Yount. "Married Before
OBreakfaat.” Chaa. Starrett. "Two
Fisted Sheriff."
Matinee. 1 P.M.—Cont. to 11 P.M.
g RICHMOND aiexat^bia VA
22 Paul Muni. Luiae Rainer, "The Good
2 Earth.”
C REED aiexatjSS?v,a va
UJ ELEANOR POWELL in
£S “BROADWAY MELODY
O OF 1938.”
_Free Parking Space—8(10 Cara.
Ml] n ROCKVILLE. MD.
ITllL.il Double Feature
Fred Scott. "Melody of the Plains."
Akim Tamiroff. "Great Gamblni"
Matinee. 2 P.M.—Cont. to 11 P.M.
Free Parking.
AMBASSADOR
Fi5?c.
LAGLEN In "WEE WILLIE WIN
— _KIE." "Jungle Menace." No._1.
1 APOIIO ' •■I H St. N.E “
o., “f l/lwIAJ Phone Line. 3375
i?i Open 11:30. Show 1:00 P M.
•- WHEELER. WOOLSEY in "ON AGAIN
»-• OFF AGAIN" and ROCHELLE
S~ HUDSON. BRIAN DONLEVY in
col "BORN RECKLESS" "Wild Weft
o _Days." No. 3. Also Cartoon.
S AVALON ®“* =*
c Doors Open 11:30. Show 1:00 P M.
v= "MR DODD TAKES THE AIR." with
fig KENNY BAKER. Also "Wild West
u Days." No. 1. Short._
4 AVENUE GRAND
Doors Open 11:30. Show 1:00 P.M.
JOE E. BROWN in "RIDING ON
AIR" and GLORIA STUART.
MICHAEL WHALEN In "LADY
q/j ESCAPES "_Also Cartoon.
eye* rAIVFRT'3-' Wisconsin Aral
f*! LHLfC.ni Cleveland 1345
UJ Doors Open 11:30. Show 1:00 P.M.
WHEELER and WOOLSEY in "ON
AGAIN. OFF AGAIN" CaVtoon.
rFNTDAI NMntli St. N.W.
UJ iLlf 1KAL Phone Met. 1811
X Matinee. I I :l>0 A M.
H WHEELER WOOLSEY in "ON AGAIN.
OFT AGAIN." and CHESTER
MORRIS in "PLIGHT FROM
_GLORY." Popeye Cartoon.__
eg COLONY '4M3£v
n Doors Open 11:30. Show 1 :lMt P.M.
UG "MR DODD TAKES THE AIR." with
BS KENNY BAKER "Wild West
gQ _Days." No. 3. and Short Snhlert,
UAME 1130 C St. N.E.
nunic Phone Line. 10108 '
Doors Open 11:30. Show 1:00 P.M.
!*! TONY MARTIN. DIXIE DUNBAR in
UJ "SING AND BE HAPPY" and
Jr _FI:ED STONE in HIDEAWAY'
2 PENN 650 Penna.^Ave. S.E.
Doors Open 12:30, Show 1:00 P.M
LORETTA YOUNG. DON AMECHE in
S LOVE UNDER FIRE.” Also Pop
_eye and March of Time._
CAVflV 3030 14th St. N.W.
3AVUI Phone Col. 4968
Doors Open 12:30. Show 1:00 P.M.
11.1 D V CDtVTUPDO ATT AWT 1AWFC
MAUREEN O'SULLIVAN In "A
5 day AT THE RACES." Short. _
if SHERIDAN g
Doors Open 12:S«. Show 1:00 P.M.
cq RICHARD CROMWELL In "ROAD
_BACK " Also Our Gang Comedy.
£ Tivm I 14th St. A Park Rd. N.W~
11VUL1 Phonr Col. 1 SOD
2 2 Doors Open 1*i:30, Show 1:00 P.M.
o« LORETTA YOUNG DON AMECHE in
"LOVE UNDER FIRE." "Wild
15^ West Days/; No. /> March of Timr,
2; ITDTnWN Conn. Ave. and Newark
^2 llrlUnn st n.w. ciev. moo
ko, Doors Open 12:30. Show 1:00 P.M.
o LORETTA YOUNG DON AMECHE ill
^ ‘ LOVE UNDER FIRE ” Also Our
Gang Comedy. March of Time.
VnDIf Ga. Ave. and Qaebee
IUIMV Place N.W. Col. 4016
Doors Open 12:30, Show 1:00 P.M.
“MARRY THE GIRL” with HUGH
HERBERT and MARY BOLAND.
NCU/TflN * *-th A Newton Sts. N*.
PHI* ff 1 Un Air-Conditioned
Double Feature
“DAVID HARUM.” WILL ROGERS.
•HOLLYWOOD COWBOY.” with
GEORGE OBRIEN. Mat. at 1 P.M.
F5 JESSE THEATER ‘MTn'
^ Carrier Air-Conditioned
HE. Double Feature
U4 "HELL DIVERS." CLARK GABLE,
M WALLACE BEERY. "WEBTERN
ifc; GOLD." SMITH BALLEW. Matt
»■* nee at 1:00 P.M.
H CVI V AMI*1 andE. I. Are. N.W?
X M LV An Carrier Air-Conditioned
Double Feature
^ "SHE HAD TO EAT." ROCHELLE
QC HUDSON. JACK HALEY. "BOR
?7s NEO." MR. and MRS. MARTIN
JOHNSON. Matinee at 1:00 P.M.
PALM THEATER deVa*at7
Double Feature
“DR BULL,” WILL ROGERS and
MARION NIXON. “KING OF
GAMBLERS ” LLOYD NOLAN and
_CLAIRE TREVOR. Met, at j P.M.
ARLINGTON, VA.
UnV CAN 1720 Wilson Bird.
“ILjUIi Opp. Colonial Village
SHIRLEY TEMPLE and VICTOR Me
LAGLEN in WEE WILLIE WINKIE.”
ACUTHN Clarendon. Va.
/ioniun LLOYD NOLAN In
“KINO OF GAMBLERS.*'_
FALLS CHURCH. VA.
STATE N WORRIES*0 LEE
ELEANOR POWELL. I BRIAN DONLEVY
ROBT. TAYLOR in I U> "MIDNIGHT
•BROADWAY I TAXI."
MELODY OF 1038." I
HHMHHMMHBIIIilHWHBMi
LAST DAY—25c to 5 P.M.
ON the stage
RADIO'S FRIENDLY ADVISOR IN
Arson, man i^h ^tholsanp
fiMHif
SCHOOL OF THE THEATER
KEINERT WOLFF. Director
Modern Traininr in Actinr
and Play Production
Classes Oven to Both Young Men
and Young Women
Information at 1751 N. H. Are.
Telephone North 10385.
MIDNITE SHOW
TQNITE
* i
Film Stars’ Byplay Steals
Spotlight From Tennis
Gable and Carole Lombard Run
Gamut of Facial Expressions
While Fans Watch.
BY SHEILAH GRAHAM.
HOLLYWOOD. September 25 (N.A.N.A.L—Dear Diary . . . Saturday . . .
A1 Ritz, saddest of the screwy Ritz brothers, is all alone at the
Brown Derby
I ... For heaven‘* cheer up.” admonishes Brian Donlevy. "I
! can’t. I’m lonely,” glooms Al. The pretty waitress, clad in traditional Brown
I Derby uniform (tight-waisted, above-knee-length gown—stiff and starched at
the hem so that customers see a lot of <
umDj, smiles sweetly at Mr. Ritz. He
smiles back .. . curtain.
Sunday . . . with the stars—
screen and net—
at the exhibition
matches preced
: ing tile Los
1 Angeles Tennis
Club tournament,
i ... An Sothern
! is celebrating the
first, anniversary
of her marriage
to Roger Pryor in
a ringside box
! with the band
leader . . . The
| M a r x brothers
and their affili
i ations fill one SheiUh Graham.
| comer of the cen
! ter court. But for once they desist from
| wisecracks. Tennis to them is a seri
ous pastime . . . Constance Bennett is
conspicuous by her absence—although
a girl very much like her is with
Gilbert Roland . . . The tennis is good
—it should be with Donald Budge,
Helen Wills Moody, Baron von Cramm
and Anita Lizana. But they might
just as well be at home knitting. The
| crowd is only interested in the byplay
; between Clark Gable and Carole Lom
bard. They hold hands—just like they
do in the movies—and every once in
awhile give their fans a range of
facial expressions, i.e„ laughter, amuse
ment, wide-eyed wonder (Mis6 Lom
bardi, tooth-showing grin (Mr. Gable),
Oh. Hollywood's a wonderful place—
but not for tennis matches.
Later—the preview of “Double Wed
ding,” with Myrna Loy and William
Powell. Part of the picture was made
after the sudden death of Jean Harlow.
But you'd never guess it from Bill’s
smooth comedy performance. He is
far from married to Myrna Loy in this
film—in fact they quarrel all the time.
I think I'll start a movement to re
serve them for matrimonial bliss and
“Thin Man” films only . . . Neighbor
hand-holders, Loretta Young and Joe
Mankewicz.
* * * *
Monday . . . The first night of Noel
Coward's “Tonight at 8:30” series
of playlets. And all the ermiae and
sable coats are bereft of moth balls
and on the backs of filmland’s fairest
glamour girls . . . Chief stage attrac
tion—Mary Astor doing a spot of legit
imate acting for a change . . . Chief
audience ditto — John Barrymore
flaunting a marcel wave—essential for
his current picture.
Tuesday . . . Dinner with Humphrey
Bogart, Fiance Mayo Methot and
Playwright Arthur (“Having Wonder
ful Time”) Kober . . . Bogart is un
THEATRE PARKING
6 P.M. TO
1 A.M.
CAPITAL GARAGE frft
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*^ei*^e£o*'C* ,
(V?n „oV Y\t»*w., «*•
VMSco»^t>
•* $>£*;•&.
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