Evening star. [volume], February 03, 1940, Page B-12, Image 30

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

Image provided by: Library of Congress, Washington, DC

                
When Films Apply Power,
They Do a Dramatic Job
‘Gone With the Wind’ Remains
At the Palace, and Earle Keeps
‘The Fighting 69th’
By JAY CARMODY.
A pair of prominent local marquees, those of the Palace and the
Earle, testify this week that when the movies turn full power upon a
good story, they can do a highly dramatic job. The pictures mentioned
on the marquees in question are "Gone With the Wind” and “The Fight
ing 69th,” both of which depart radically from the little themes which
for so long looked like an obsession of Hollywood’s.
The more spectacular of the accomplishments under consideration
naturally is “Gone With the Wind.”*J-—
As this department, not to mention
virtually every other reviewing de
partment, has said, Mr. Selznick
has done full honor to Margaret
Mitchells panorama of the Civil
War. In every department, casting,
production and direction, he has
made his picture worthy of its
name as the greatest achievement
In screen history even though some
may demur at calling it the greatest
picture of all time. To have main
tained such a level of quality in
■ handling such a mass of material is
the thing that is earning him the
applause and the dollars of the
Nation.
A second week’s contemplation of
"Gone With the Wind” heightens
the admiration for Selznick’s wis
dom in recognizing the Mitchell
story as the great American legend.
Seeing it this way, it was apparent
that his only course was to avoid
tampering with the story as he
would were he making any other
tale from folk literature. Stories
of such profound appeal, whether
or not they be great drama, belong
to the people and woe unto the
translator who modifies them. Mr.
Selznick courted no such woe.
In casting Vivien Leigh as Scar
lett O’Hara. Clark Gable as Rhett
Butler, Olivia De Havilland as
Melanie and Leslie Howard as Ash
ley Wilkes, he brought the major
characters to life just as they ex
isted in the book. The same care
of selection is manifest down to
the most minor of the minor figures.
That challenging chore accomplish
ed. all that was left was to provide
these characters a stage as vast
and as highly colored as that which
Mrs. Mitchell created in her book.
Mr. Selznick made no mistake there
either, although he denied Scarlett
a pair of children (for which a
minority condemns him on the
ground that it sort of idealizes her)
and some of his more expansive
settings look a bit fragile in techni
color.
* * * *
Further reflection upon the va
rious excellences of “Gone With the
Wind” necessitates mention of two
of the happiest bits of subordinate
casting which any picture ever en
joyed. They are the performances
of Thomas Mitchell as Gerald
O'Hara and Hattie McDaniel as
Mammy, the corpulent, stormy old
slave who served as Scarlett’s men
tor with such a simple wisdom and
so deep a love.
In the early part of the story,
Mr. Mitchell is easily adequate to
the task of indicating where Scar
lett derives that love for land
(Tara) which is her invariable
refuge and source of strength. His
real brilliance as a performer shines
more brightly in those post-war
passages, when, bereft of his reason
by virtue of the disaster to his
lands, he can only mumble inco
herently. Reduced to the use of pure
pantomime in these scenes with the
glittering Miss Leigh, Mitchell domi
nates them as if he stood alone
in a spotlight reciting a Maxwell
Anderson solliquy. It is acting of
the kind that probably will earn
him an academy award for the best
supporting performance of the year.
The odds are equally good that
Miss McDaniel will earn a like dis
tinction for her performance as
Mammy, the portrait of a slave who
understood so much of life and could
feel it so deeply.
* * * *
“The Fighting 69th,” a documen
tary account of the war record of
one of America's great fighting
units, into which has been inserted
but one conspicuous extraneous
thread of drama, is one of the finest
bits of acting ever turned in by
Warner’s post-graduate in realism.
The regiment's story was dotted with
some colorful personalities, Father
Francis P. Duffy, Maj. “Wild Bill”
Donovan, Joyce Kilmer, etc. They
come to life, under the grim cir
cumstances which might be ex
pected when Warners go to war
in the performances of Pat O’Brien
George Brent and Jeffrey Lynn.
Excellent as those portraits are,
however, the acting tour de force
of “The Fighting 69th" is that cre
ated by James Cagney. Richly
schooled in the art of impersonating
a snarling, ratlike human, Cagney
here has an opportunity to do the
part in its most repulsive coloring.
And brilliant he is as cocky, rebel
lious Jerry Plunkett, a fearless little
man in fistic combat but a craven
quitter when the shells start fall
ing in the impersonal conflict of war.
The basic theme of the story ob
viously is no new one and Cagney’s
role is one he has played many
times before. But both the story
and the central role are handled
with such virtuosity on this occa
sion that they take on a consider
able significance as entertainment.
“Red" Skelton, the Roxyettes,
Violinist Helene Faye and some
other people are performing an en
tirely new stage show along with
'the second week of “The Fighting
69 th.”
A SONG FOR A LADY—Rita Hayworth is the lass looking over her shoulder at the chap raising his
voice in song, who is Tony Martin. Both are starred in “Music in My Heart,” which is scheduled to
open Tuesday at the Metropolitan Theater.
'Shop Around the Comer’
Sees That Old, Gay Europe
Margaret Sullavan, Jimmy Stewart
Brighten New Film at Capitol;
‘Barn Dance’ on Stage
By HARRY MacARTHCR.
Still concerned, as he was in “Ninotchka,’ with a Europe that used
to be a few years ago, a Europe which could laugh and love and be gay,
Director Ernst Lubitsch now gives us “The Shop Around the Corner.”
Quaint, charming Budapest is the locale this time and. while it is
difficult to imagine a capital of Europe full of such happy, innocent
people, Mr. Lubitsch and his players, principally Margaret Sullavan,
Jimmy Stewart and frank Morgan,—-----—
inane uiic new null a U LiCUW 5
Capitol quite pleasant romantic
whimsy.
This is perhaps rather trivial
business lor Mr. Lubitsch to be con
cerned with. It is nothing more
than that familiar variation on the
mistaken identity theme—the one
about the boy and the girl who
correspond, each not knowing who
the other correspondent is, though
actually they know each other well.
But Mr. Lubitsch probably could
make a fairly bright motion pic
ture entertainment from any given
five pounds of the Congressional
Record and Samson Raphaelson has
given him a considerably livelier
screen play than that here.
The casting office has done its
bit, too, giving Mr. L. a pair of
players who have come through with
just the right blend of wistfulness
and comedy in their projection of
the romance. The lanky Mr. Stew
art is completely agreeable every
minute. And it certainly is fine to
have Miss Sullavan back. It is a
genuine pleasure to watch a com
petent, assured actress, one with
sensitive understanding, who can
give a little salesgirl dimension and
life and make you believe you are
looking at a charming and norma]
person instead of at one of Holly
wood's cardboard dollies labeled
“salesgirl.”
The Sullavan touch and the Stew
art touch mean quite as much to
“The Shop Around the Corner” as
the “Lubitsch touch.” There is
naturally, much evidence of this
latter. You will note it, for in
stance. in the character of the lov
able old clerk at the shop around
the corner, portrayed by Felix Bres
sart, who is always dashing for a
hiding place whenever he hears
some one say, “Now I want your
honest opinion.” You will note it
in the surprise of a lot of the com
edy moments, in occasional deft
double entendre, and in dozens of
other ways. And even when you
don't notice it, the “Lubitsch
touch” is there, making “The Shop
Around the Corner” completely
agreeable frivolity.
It is the Gene Ford touch with
which the stage show is stamped
and which has much to do with
making “Barn Dance" fun. The
revue has the dual advantage of
being novel and being performed
by some talented people. The head
liner of “Barn Dance” turns out to
be a fellow named Harry Stevens,
who certainly is right at home in
the rustic surroundings. He is the
corniest performer ever seen on the
Capitol stage within the ken of this
memory. But when he sits down
with a banjo and starts to whang
its ears off he not only gets the
audience in the palm of his hand
but has the people out front sing
ing merrily with him.
Comedy is the keynote of “Barn
Dance,” comedy which varies in
mood from the chuckle to the
guffaw. There even is the comic
touch in the songs by Phyllis Colt
who left Washington as Kitty
Simons and has come back a zestful
songstress with a nice style for in
jecting humor into swing. Nan Ray
and Maude Davis are here, too, with
that daft “inquiring reporter” skit
which is none the less funny for
your having seen it before. Also
there are Masters and Rollins with
some eccentric song and dance, the
Rhythm Rockets to go swingin’ in
the corn and on one occasion to
play 16 banjos practically at once,
and Sam Jack Kaufman conducts
another of his overtures.
| Trick Effects
Enliven Film
At Keith’s
‘Invisible Man’ and
March of Time
Share Bill
There Is something appealing
about invisibility, something the
mind contemplates with relish.
There is nothing novel, of course,
in the cinema trickery which pro
duces this invisibility on the part of
a person who otherwise gives every
indication of occupying his share
of space, but it was a good trick in
the "Topper” films and it is still a
good trick in “The Invisible Man
Returns,” which is the new attrac
tion at R-K-O Keith's.
The only complaint in the case
of "The Invisible Man Returns” is
that the script writers have been
content to let the burden of enter
taining rest upon the special effects
department and have thought of no
new' paths for an invisible man to
walk. Aside from the fact that the
principal protagonist is a man w'ho
can't be seen, even when he is right
there smacking a constable in the
teeth, this is just a routine melo
drama about a man wrongly con
demned to death who spends the
course of the picture frightening
a confession out of the actual
murderer. Sir Cedric Hardwicke,
Nan Grey, John Sutton, Alan Napier
and Vincent Price's voice do their
best to lend it all credibility, but
the tricks are so much fun that the
melodramatics haven’t a chance.
“The Invisible Man Returns” is at
its best when it is not occupying
itself with something it would like
you to take seriously, A door open
ing and closing with no seen hand
to guide it, a gun suspended in mid
air, a dressing gown or a suit of
clothes from a scare-crow wandering
about with no apparent being in
side are great sport. The special
effects boys have pulled many a
neat trick here, the best of which
probably is the one when the in
visible man becomes visible gradu
ally, in what looks like a series of
pictures from a medical textbook.
Companion piece to "The Invisible
Man Returns” at Keith’s, and in
something of a different mood, is
the new March of Time, "The Re
public of Finland—1919-1940.” It
is a comprehensive survey of the
history of the little nation, from
its battle for freedom, through the
prosperity it achieved in the midst
of world-wide depression to its new
battle for freedom from the op
pression of Red Russia. Also it is
a forceful picture of the spot Fin
land is on today and a plea for a
brave and honest nation. H. M.
Where and When
Current Theater Attractions
and Time of Showing
National—“Springtime for Hen
ry. with Edward Everett Horton:
2:30 and 8:30 p.m.
Palace—'“Gone With the Wind,"
mammoth screen version of the
novel: 9:45 am., 2:45 and 8 pm.
.. Ear,*~‘‘Th® Fighting 69th,"
through the World War with gun
and Cagney: ll a.m., 1:35, 4:20
7.05 and 9:55 pm. Stage shows*
12:35, 3:20, 6:10 and 8:55 p.m.
Keith’s—“The Invisible Man Re
turns,’’ more of that chap who can’t
be seen: 11:50 am., 1:50, 3:50, 5:50,
7:50 and 9:50 p.m. “March of
Time”: 11:30 a.m., 1:30, 3:30, 5:30,
7:30 and 9:30 p.m.
Capitol—“The Shop Around the
Corner,” Margaret Sullavan and ro
mance in Budapest: 10:45 am., 1:30,
4:20, 7:10 and 10 pm. Stage shows:
12:35, 3:25, 6:15 and 9 pm.
Columbia — “Swanee River,” Don
Ameche as Stephen Foster: 12,
1:55, 3:50, 5:45, 7:40 and 9:40 pm.
Metropolitan — "British Intelli
gence,” melodrama of espionage:
11:40 a.m„ 1:40, 3:45, 5:50, 7:50 and
9:55 pm.
Little—“Dr. Jekyll and Mr. Hyde,”
the academy award film version:
11:30 am., 1:40, 3:45, 5:45, 7:50 and
9:55 pm. “Carmen,” with Charlie
Chaplin: 11 am., 1:05, 3:10, 5:10,
7:15 and 9:20 p.m.
Trans-Lux—News and shorts; con
tinuous from 10 am.
i
Bette Davis’ Valley Home
A Magnet for the Males
Gary Grant, Long in British Isles,
Has No Accent, but Ronald Golman,
* Here 20 years, Keeps His
By SHEILAH GRAHAM.
HOLLYWOOD.
Seen and heard around town . . . Clark Gable was presented with
15 hats by a hatters' association, which named him among the best
dressed men of the Nation. But Clark seldom—if ever—wears a hat. And
he gave the whole caboodle to Carole, who, with a pinch here, and a twist
there, probably will convert them all into fashionable female numbers.
—-❖ Bette Davis will use that PO-arre
Filmusicals
Are With Us
Once More
The Tuneful Note
Struck by Many
New Pictures
HOLLYWOOD.
The dawn of 1940 may not be
coming up like thunder in Holly
wood, but there is a distinct musical
sound. Not only do those classical
music films, such as the MacDonald
Eddy “New Moon” and "The Great
Victor Herbert” type, loom on the
horizon, but the theater story, after
a lengthy absence, is blossoming
forth in new splendor.
First of these new musicals to hit
the screen will be “Broadway Melody
of 1940,” a story all about a big
dancing star, Eleanor Powell, and
trwo hopefuls, Fred Astaire and
George Murphy. It had barely
halted camera work before Joan
Blondlel, Lana Turner and Murphy
started rehearsing for another be
hind-the-scenes musical of two girl
dancers and a song writer, titled
“Two Girls on Broadway.” Soon
Mickey Rooney and Judy Garland
will team in “Babes on Broadway.”
Meanwhile, Alice Faye is sprout
ing stage wings for “Lillian Russell,”
which will have plenty of backstage
scenes. “Dance With the Devil” in
vades the dressing rooms of a night
club, with Dorothy Lamour singing
four numbers. “A Night at Earl
Carroll's” over at Paramount will
have more chorines in numbers
than you can shake an eye at. And
Republic is starring Frances Lang
ford in “Hit Parade of 1940,” the
revue type of film coming into its
own.
Anna Neagle will surprise by sing
ing in the musical “Irene” and
“Curtain Call,” a new type of
backstage story—a country girl
playwright who gets a “flop” play
produced on Broadway.
roster aongs rme
In ‘Swanee River’
When it sings his songs, Stephen
Foster comes to life in “Swanee
River,” the lavishly technicolored
film which has now moved to Loew’s
Columbia for a second week on F
street. When “Swanee River” turns
to what it would palm off as bio
graphy, however, you have more
than a suspicion that the Stephen
Foster you always heard about and
this one portrayed by Don Ameche
are two different people.
As if the living music Foster gave
to America were not enough to
make up for whatever shortcomings
he might have had in his private
life, the picture turns to idealization
instead of to the pathos and poig
nance which made the composer’s
life a dramatic one. The Ameche
portrait is noble almost beyond
credibility when the reports of
Stephen Foster’s previous biograph
ers are even vaguely remembered.
But Mr. Ameche, Andrea Leeds,
A1 Jolson and the technicolor are
not always engaged in their gentle
account of the theory that mild
whimsicality was Stephen Foster’s
worst fault. Sometimes the sound
track is the center of attraction
and then “Swanee River” is a real
treat. When Mr. Jolson is busy with
“Oh, Susanna,” or the Hall-Johnson
Choir with “OF Black Joe,” or
Ameche with “Jeannie With the
Light Brown Hair,” for instance,
“Swanee River” is a genuine delight.
Whatever the picture’s shortcom
ings in its interpretation of Stephen
Foster’s private life, it does hand
somely indeed by the great Ameri
can folk music he left to be sung
through the years. H. M.
Films From Turkey
At the Trans-Lux
From Turkey to show the horror
of that recent earthquake come first
pictures of the disaster to headline
the pictorial account of the news
of the world at the Trans-Lux. And,
as usual, there is a lengthy portion
of the newsreel footage on the new
bill given over to events of Eu
rope’s two wars. Viborg is blasted
by Russian guns, Norwegians vol
unteer to aid Finland, Chamberlain
farm she bought recently in New
Hampshire to get away periodically
from Hollywood . . . Bv the way,
Bette’s home in the valley is the
magnet drawing
all the males
within a ^o-mue
radius. Among §
them, Robert ■
Sinclair, the di- I
rector. It's funny I
to reflect that I
only a few years I
ago Bette was ■
dismissed from
Universal be
cause — as Carl
L a e m m 1 e, jr.,
put it—"she's got .:;j
she leaves me
cold." The more sheilah Graham,
discriminating boys tell me different.
It is hard to believe that Cary
Grant was born and spent all his
life until early manhood in the
British Isles. There isn’t a trace of
English accent in his voice. His
nasal resonance is due to some sort
of nose or throat formation. The
latter goes for Ronald Colman—with
the exception that Ronnie, after 20
years in this country, has not
yielded the smallest fraction of his
ultra British accent . . . Cary is
currently making a picture for the
first time with Housemate Randolph
Scott. Wh»h must be rather like
working with your wife or husband.
As Cary says, "It just means we
never can get away from each other.”
Richard Greene has to kiss
Zorina about 30 times in “I Was an
Adventuress.” And expressed him
self thusly following the experi
ence, "After the first two times it j
became a littl$ mushy. But that
was all right with me.” I should
hope so . . . Madeleine Carroll’s
chief reason for returning to Eng
land at this time is to settle com
munity property shared with her
divorced husband.
When Madeleine was happily
married to Capt. Astley, they used
to put their joint incomes into one
bank account—Madeleine sent her
salary to Astley in England, and he
gave her an allowance from it. This
sort of thing is all right if the
couple stay married—but confusing
when they divorce.
Norma Shearer is a bit in the dog
house with her studio. All on ac
count of George Raft. She was ad
vised not to go places with him—
for two reasons: A. He was not
under contract at the same studio
(why give an outsider all that pub
licity?) and B. It was doubtful
whether his long-estranged wife
would give the divorce George seems
to want. I don’t know which argu
ment won, but the fact is that
Norma and George are not seeing
quite so much of each other—at
least, not where reporters and
photographers hang out.
David Niven is reported engaged
to marry the niece of the British
chief of air force ... A cute scene.
Sally Blane ahd Norman Foster are
giving their baby an airing in
Beverly Hills. A sleek limousine
drew alongside, stopped and Claud
ette Colbert got out. “I want to see
the baby,” she cooed to, Foster—
Claudette’s first husband. I wonder
what she was really thinking while
clucking and goo-goo-ing at the
infant?
(Released by the North American
Newspaper Alliance. Inc.)
defies the Nazis, England continues
to enforce her blockade, guns go
into action on the western front,
ind, over here, there is a reminder of
the war in the arrival at Baltimore
at the end of her dramatic voyage
of the City of Flint.
On the domestic scene President
Roosevelt delivers his birthday anni
versary message, Mrs. Roosevelt cuts
the cake with the help of a pair
of movie stars and the President’s
mother attends the birthday anni
versary festivities in New York.
Across the country: Texas sees a
new Southern industry in newsprint
made from pine pulp, Cincinnati
looks at the Ohio River frozen
across and fears floods anew when
thaws come, the Texas quadruplets
celebrate their first birthday .anni
versary, the first social security
checks are mailed from Washing
ton, people have fun in Florida and
on ski trains.
Shorts on the new program in
clude Walt Disney’s “Goofy and
Wilbur,” “Winter Playground,” a
visit with sports enthusiasts to the
snow-covered Province of Quebec;
“Dad for a Day,” an Our Gang
comedy, and “The World of 1960.”
H. M.
American Premiere
Brings ‘Olympia*
To the Belasco
The filming of the 11th Olympiad,
Just recently released under the
title "Olympia,” had its first Ameri
can showing last night at the
Belasco Theater where it proved
itself entirely worthy of advance
notices.
The 1936 games, you will remem
ber, were those in which the Ameri
can contingent, headed by Jess
Owens, gathered laurels by the
basketful in the big Berlin sports
stadium. The event may be con
sidered notable for the added reason
that it has received highly success
ful reproduction in motion pictures
through the eflorts of a hardwork
ing staff of photographers and tech
nicians who are a credit to their
profession.
There is sufficient action and ex
citement to please the most avid
Olympic fan. The material in fact,
has been chosen with a discretion
that should tend the film an appeal
to all classes of sports enthusiasts
from track lover to swimmer. Nor
will the photographer-for-photo
graphy’s-sake be disappointed. The
German recorders show a keen
taste for artistic values.
The camera studies from closeup
and the dances, the gripping
battles on the cinder paths, syn
cronizatlon of muscle In the fancy
diving events always a beauty to the
eye. Form at Its greatest in the
javelin throw and pole vault, the
latter contest lasting five hours into
the night with the photographers
still grinding away. The throng is
beheld urging the contestants; in
dividual rooters groan and yell in
turn quite candidly before the peer
ing lens. Field announcers drone
their reports in stentorian voices
as the contestants wage their wars.
It may be said in all truth that the
atmosphere and the feeling of full
blooded sportsmanship as embodied
by the Olympic games has been
faithfully preserved in this presenta
tion.
And, to satisfy the general curio
sity, "Olympia” is completely devoid ^
of Nazi nonsense in any form. I
J. 8. 1
__ •
With Sandy Again
Micha Auer will be featured with
Baby Sandy in the Universal star
let’s next picture, “Sandy Is a
Lady ” The popular comic appeared
with the baby actress in her first
film, “East Side of Heaven,” and
in her second, “Unexpected Father.”
THEATER PARKING
6 P.M. TO
12 P.M.
CAPITAL GARAGE
TOWN NALL
CLARENCE K. STREIT
“UNION NOW”
Admission $1.25-SI.50
FEB. 11th—ELSA MAXWELL.
DI. 4704. BR. 612.
Pi A. 2»40
E. Morrison Paper Co.^
_i 009 Po. Ave. N.W.
WARVMAN
gpl park Hem
Parks to Be Planted
Parks, playgrounds, commons,
school yards, sports fields and vacant
lots in many cities in England are
being plowed for crops.
MONTMARTRE
NOCTAMBUIF
French atmosphere Sat. nights only.
Unusual Entertainment. Group Sing
ing. etc. Felian Garzia. Concert
Pianist )
1106 Md. Are S.W. (The Evergreen»
Din. 6-10, Sup. 10-12. ME, 8804-7834
fPrincefllogul!
> THt Appearing Afternoons ^
v I man with I and Evenings in... the V
| I X-RAYj^j^ftW^ I
> 1«s^»/^-^C0CKtail lounge &
4
AMUSEMENTS.
I* W* mr* now back to oui
REGULAR POLICY
NO RESERVED SEATS
Continuous showings
Prioas 10.45 s.m. to 5.30 p.m. 35c
IS.30 p. m. to closing 55c
(INCLUDES TAXp
Inn* QMivcasAL raitCMTs
•n* inUISIBLE
mnn reiiirrs'
• Sii CEDRIC lARDWICKE
VINCENT PNICE • NAN HIT
-GuUaJ.. •
naw adition Tke MARCH ei TIME
^ Brava Finland
MAE WEST. W.C. FIELDS
hi‘My Little Chickadee*
„ ** wEEK.«5Si\
rSx'O’W'tH W®N\
WVuntv \
■THtriomRcew
""^Tar tM**1 1
*R«r SRUTOH '
"Ha F«ttw ifflEu itAm « uesaia\
t 1 1 ■
Thru TUESDAY Only: I
DrJCKY|b,HVD»
_pyRyttNCE-fleWTURPlN
iiur/esQUtof CARMEN]
PEARL HAUER at the PIANO
“Loans to Finland
and
Browder Conviction
are Steps Toward U. S. Involvement
in War.”
Hear
CLARENCE HATHAWAY
Editor ‘‘Daily Worker”
HENRY WINSTON
Nearo Youth Leader
Sunday, Feb. 4, 2:30 P.M.
National Pres* Auditorium
Admission. 35c
TRANS-LUX tittiistL.au
I WAR SPECIALS; BIRTHDAY
I BALLS; Ol’R GANG; GENERAL
MOTORS’ WORLD’S FAIR
A* EXHIBIT; DISNEY CAR.
[ »!tcV.o SHORT SUBJECTS j
“OLYMPIA”
A T riumph!
Is Critics’ Verdict
"Breath-takinglv beautiful photog
raphy . . . choke, pant, laugh, shout
and moan with the crowd."
BOB RUARK—NEWS.
'•Anyone with a drop of red blood
in their veins will thrill to Olympia
. . better than if you were on
the scene."
BURTON HAWKINS—STAR.
"Film of Olympic Games heartily
recommended to all movie-goers . . .
incredibly exciting, artistic shots."
JACK MUNHALL—POST.
"There is every other ingredient for
a successful and thrilling picture
. . . This picture will renew your
faith in the human race."
CAROL FRINK—TIMES HERALD.
Belasco Theater
Cont. from 2 P.M. to 11 P.M.
40c to 6 p.m.; 55cafter 6p.m.
\
AMUSEMENTS.
m m a ■■ Jfc
M I HUIHUH IUIT IIIMHII
■Wl ^CTTNprflnrCWi
II LAST TWO TIMES
■ ” Mat. 2:30. Nieht 6:30
EDWARD
EVERETT
HORTON
On Nw Stag* In
"SMINOTIMI FOR HINRY*
America's Most Hilarious Comedt
Eves. A5e. SI.10. S1.65, *2.20, (2.75.
Matinee, 55c, SI.10, (1.65 ine. tax.
BEG. NEXT MON. EVE. s"‘0 *“e
MM MAN (HUM LIN presents
WMak^utiheoi
THE LITTLE FOXES'
UlllAN HEllMAN $ Dramatic Triumph
■(III PATRICIA COLUNGE • FRANK CONROY
Em., (3.30, Wed-Sat. Mats.. (2.75
Constitution Hall. Next Tuet. Eve., 8:30
B| World-Famous Coloratura Soprano
I LILY PONS
Few Remaining Seats: $2.20, $2.75
fl| Mrs. Dorsey’s, 1300 G (Droop s). NA. 7151
^B Constitution Hall, Next Sun. Aft., 4 P.M.
Distinguished Russian Pianist
| LEVITZKI
B Mrs. Dorsey's. 1300 6 (Droop's). NA. 7151
_AMUSEMENTS.__
/" SMOKING
■ in mMianiM at any tiino! J
> L*J ^
ROW) That magic Luhitsch touch
\—' againt Ifs glorious love I
{ Margaret SULLA VAN
James STEWART
"The SHOP
AROUND
the CORNER”
-ONSTAGE- (*££'
'BARN DANCE' \ _ J«k
with stars galore .
GONE WITH
THE WIND
Weekday matinees are continuous
Knot reservedl 75c incl. tax (except
loges). Come anytime from 9.45 a.rri,
up to 2:45 p.m. and see complete show.
Doors open 9 a.m. All night show*
(8 p.m.) and Sun. Mat. (2 p.m.) are re
served $1.10 inch tax (except loges).
I
Stotmiirmy
I \ ^ DON ANDREA AL X
—V AMECHE LEEDS • IQLSON /— «
. _ . nl J DknlnnUv I . Th»lf»n Pll'inp
ALADLIY1I - 8th at G S.E.
E. Lawrence Phillips’ Theatre Beautiful.
Continuous From 1 PM.
“GRAND JURY SECRETS”
With JOHN HOWARD and GAIL PATRICK.
Also
‘STARLIGHT OVER TEXAS,’
_With TEX RITTER._
ATI AC 1331 H St. N.E. Atl. 8300
LAj Continuous From 11 A.M.
Dounle Feature Program FRANK* MOR
GAN in “HENRY GOES TO ARIZONA.”
Also on the Same Program!!! CHARLES
BICKFORD. BARTON MacLANE in
“MUTINY IN THE BIG HOUSE.”
CAROLINA n,h * N' c- Avt- 8-E
TIM HOLT in ROOKIE COP." and "SUB
_MARINE D-1 "_
CIRCLE •’enni1. Ar*. *1 al,t SI
BASIL RATHBONE BORIS KARLOFF In
• TOWER OF LONDON." News. Comedy.
CONGRESS 2931 Nieh0“ Ave s E
•ROVIN' TUMBLEWEEDS" with GENE
AUTRY. SMILEY BURNETTE._
niTMD A DTAAI 1343 Wisconsin Ave.
UUiflBAKlUn Double Feature.
JACK HOLT in "HIDDEN POWER " RON
ALD REAGON in "SMASHING THE
MONEY RING.” Chapter No. in. "Man
drake. the Magician."_Also Comedy._
FAIRLAWN ANACOSTIA. D. C.
“HENRY GOES TO ARIZONA.” with
FRANK MORGAN. VIRGINIA WEIDLER.
rorciiDCVT adults. 25c
UKLLnrLLI free parking
JACKIE COOPER. BETTY FIELD in
“WHAT A LIFE.” Continuous from 2:45.
V VTV1 3227 M St. N.W.
LILFU Double Feature
“FIGHTING MAD.“ “HERO FOR A DAY.”
_Free Gifts to Children._
I ITTI C 608 9th St. N.W.
LI 1 1 LL Bet. F and G.
“DR. JEKYL & MR. HYDE.”
_CHARLIE CHAPLIN in “CARMEN.”_
V VPir GAITHERSBURG. MD.
LII\1L Double Feature.
B. KARLOFF in “THE MAN THEY COULD
NOT HANG.” D 'WOODS in “HERI
TAGE OF THE DESERT ”_
DPINPrCC 1U9 H St. N.E. Li. 2600.
Continuous From 11 A M
“EVERYTHING’S ON ICE ’ with IRENE
DARE Also on the Same Program.
“WEST OF CARSON CITY. with
JOHNNY MACK BROWN.__
CTANTAftI 6th and C Sts. N.E.
dlAfllUn Finest Sound Equipment.
Continuous From 1 P.M.
“EVERYTHING’S ON ICE,”
Starring IRENE DARE. Also
‘RIDERS of BLACK RIVER,’
With CHARLES ffTARRETT.
PI* TUPSBl A *1UI Wisconsin avc.
DL 1 HLOUA Bcthcsda. Md.
WI. 26o0 or Brad. 336. Free Parkins.
Double Feature.
GENE AUTRY in
"SPRINGTIME IN ROCKIES.”
PAT O’BRIEN in
' SUBMARINE D-l.”
TOMORROW:
“HOUSEKEEPER’S
DAUGHTER.”
HIPPODROME Double Feature.
MARX BROS, in
“AT THE CIRCUS.”
CHAS. LAUGHTON in
“JAMAICA INN.”
CAMEO MT &1® MD
Double Feature.
JOHN WAYNE in ' BIG STAMPEDE."
Also “BAD LITTLE ANGEL.”
Tomor.—Greta Garbo in
“NINOTCHKA.”
UVATTCVTII r Baltimore Blvd.,
tllAlldVILLL Hvattsville Md.
Phones: GH. 08TB. HYATTS. 400.
The Theatre Beautiful.
Matinee ] P.M.—Double Feature.
MELVYN- DOUGLAS. JOAN BLON
DELL in “AMAZING MR. WILLIAMS "
ANN SOTHERN In "CALLING ON
THE PRESIDENT." Sun.. Mon., Tues.
—"GULLIVER'S TRAVELS."_
A DP A nC HYATTSVILLE. MD.
ARtAUr. Hyatts. 285.
Double Feature.
JACKIE COOPER in “LITTLE PAL "
JOHN WAYNE in "RIDE 'EM. COW
BOY/^_
MILO “ffiKSk"
Double Feature.
JOHN WAYNE In "TELEGRAPH
TRAIL." JONES FAMILY In TOO
BUSY TO WORK "
Tomor.—“GULLIVER’S
TRAVELS.”
MARLBORO CDPe^EX"?7ro’Md
Double Feature.
ROY ROGERS In "SOUTHWARD.
HO." Also “TELEVISION SPY "
TOMOR.—“BROTHER
RAT AND A BABY.”
ALLAANDK1A, VA.
nrrn free parking.
KE.LD Phone Alex. 3445.
CHARLES LAUGHTON in ' THE HUNCH
BACK OF NOTRE DAME.”__
DIPUMAMn Perfect Sonnd.
KlUimUflU Phone Alex, m
GRETA GARBO In "NINOTCHKA. ”_
FALLS CHURCH. VA. r.^
CTATr NO PARKING I CC
JIAI Ei worries LEiEi
JOAN BLONDELL in I ‘ FUGITIVE AT
' AMAZING MR. LARGE. ' "PIONEER
WILLIAMS." I_DAYS."
ARLINGTON. VA. A*Srt?S.
OMI CAM PE- Ox- 1720 Wilson Bird.
TTlLaUIl 1480. Opp. Colonial Villace
GRETA GARBO in "NINOTCHKA.”
ACUTAN 8166 Wilson Bird.
AV’lUI'l Phone Ox. 1130.
"NICK CARTER. MASTER DETECTIVE."
DfirVIhirdAM Glebe Rd. Ss Persh. Or.
DUtKinUtlAm Phone Ox. 0444.
DOUGLAS FAIRBANKS. Jr.. In "RULERS
OF THE SEA.”
AMBASSADOR kT
Matinee 1 P.M.
JAMES CAGNEY, PAT O'BRTEN.
GEORGE BRENT in "THE FIGHT
ING 69th." At 1:30. 3:30, 5 30.
7:30, 9:35.
APOLLO
Parking Space Available to Patrons.
ALICE FAYE WARNER BAXTER in
"THE BARRICADE. At 1. 3:55.
6:50. 9:50. JOE E BROWN in
BEW’ARE. SPOOKS ' At 2:45.
5 45. 8:40. Short Subject.
AVATHW 5612 Conn* Av®- N.w.
^ V ALUn wo. 2600. Mat. 1 P.M.
"DEAD FND" KIDS in "ON DRESS
PARADE."_At 2. 4. 6, S. 0:50.
WF. GRAND 6‘5>21^.SE*
Matinee. 1 P.M.
LUPE VALEZ in "MEXICAN SPIT
FIRE ' At 1. 3:50. 0:50. 8:50.
WILLIAM BOYD in "SANTE FE •
MARSHAL" At 2:40. 5:40, 8:45.
RFVFBIV ,sth * e n.e.
BE. V EnLI LI. 3300. Mat. 1 P.M.
Parkin* Space Available to Patrons. 1
PRISCILLA LANE. ROSEMARY LANE.
LOLA LANE. GALE PAGE in "POUR
WIVES At 1:25. 3:25, 5:30, 7:30,
8:35. Short.
"AI VFBT p2» Wisconsin Are.
j-ALVfcKI WO. 2345. Mat. 1 P.M.
Parkin* Space Available to Patron*.
All Color Cartoon. "GULLIVERS
TRAVELS." At 11:35, 1:40. 3:50.
5:55 7:45. 0:40. U. 8. Treasury
Short._
PFNTBAI 425 nth st. n.w.
ixn 1 IVALiMr. 2811. Open. 10 A M.
"TWO THOROUGHBREDS." At 10.
12:45. 3:25. 8:05. 8:45. WILLIAM
BOYD in SANTE FE MARSHAL "
At 11:10 1:50. 4:30. 7. 8:45. Also
Short Subject._
mi ONY 4033 G». Avc. N.W.
I GE. <>500. Mat. 1 P.M.
JOAN BLONDELL MELVYN DOUG
LAS in "THE AMAZING MR WIL
LIAMS" At 1:40. 3:50. 5:55. 7:45,
0 3., Short Subject.__
HHMF 1250 c st. n.e.
HUME, AT. 8188. Mat 1 P M
"RED STONE in “KONGO WILD
STALLION." At 1. 4 7:10. 10. RAN
DOLPH SCOTT in "20,000 MEN A
YEAR." At 2:40, 5:40. 8 45._
If FNNFnY >Knn«d*- Near 4th N.W.
AE.nnE.UI RA. 8800. Mat. 1 P.M.
Parkin* Space Available to Patron*.
DOUGLAS FAIRBANKS. Jr., in ‘"RUL
ERS OF THE SEA." At 1:20, 3:40.
5:55, 7:50. 8:50. Short,
nratal r,.-»n Pa a r
A LI. 2179. Mat. 10:30 A M.
Max Fleischer's Feature-Length Car- «
toon in Technicolor. “GULLIVER S
TRAVELS." At 11. 12:55. 2:45.
4:35. 6:20. 8:10. 9:55. Also Short.
CAVOV 3030 nth St. N.W. 4
iJMYVI CO!. 1968. Mat. 1 P.M.
DEANNA DURBIN in “FIRST LOVE.’*
At 1:15. 3. 4:45. 6:25. 8:10. 9:55.
crrn s?44 Ga. Ave.. Silver Sprinr.
jlLU Md. Shep. 2540. Park. Space >
Matinee. 11 A.M.
ROY ROGERS in “SOUTHWARD HO.**
At 11:25. 2 4:35. 7:10. 9:50.
BRUCE CABOT in “MY SON IS
GUILTY” At 12 40. 3:20. 5:55.
8:30. Also Short Subject.
SHERIDAN -Aw SrSTWE
• DEAD END" KIDS in "ON DRESS
PARADF" At 4:15. (1:20, 8:10.
0 55. Short Subject._
CfI VCD Ga- Ave. * Colcsville Pike
OlLVLtV SHen. 5.500. Mat. 11 A M.
Parkin* Spare Available to Patron*.
MI Color Cartoon. "GULLIVERS
TRAVELS” At 11. 12:50. 2:45.
4:30. ti: 10. 8. 0:40._
rA VOMA ,th an<* Butternut Sts.
1AIVUITIA Gc. 1312 Parkin* Space
Matinee. 1 P.M.
JONES FAMILY in "YOUNG AS YOU
FEEL " At 1:10. .3:55. 0:40. n:io.
ALICE FAYE WARNER BAXTER in
"THE BARRICADE" At 2:15. 6.
7:50. 10 Also Short._
TIVOl 1 1 *th St. * Park Kd. N.W.
I1VULI Col. 1800 Mat. 1 P.M.
STAN LAUREL OLIVER HARDY In
"FLYING DEUCES " At 1:55. 3:55.
0 8, 9:50. Also Short.
IIPTHWM Conn. Ave. A Newark.
UrilWW WO. 5100 Mat. 1 P.M.
Parkinr Space Available to Patron*.
PRISCILLA LANE. ROSEMARY LANE.
-OLA LANE. GALE PAGE in "FOUR
WIVES." At 1:20, 3:25. 5:25. 7:30,
[l 35 Short._
VnoV Ga. Ave. 4- Quebec PI. N.W.
IUItIV RA. 4400. Mat. I P.M.
WAYNE MORRIS ROSEMARY LANE.
HUMPHREY BOGART DENNIS .
MORGAN In "THE RETURN OF DR.
X At 1:45. 3:45, 5:50. 7:50. 9:50.
Newton ,2ths?,nvr,t<m „
Double Feature.
‘BLONDIE BRINGS UP BABY.” with
’ENNY SINGLETON. ARTHUR LAKE.
NICK CARTER MASTER DETEC
riVE." with WALTER PIDGEON.
FtITA JOHNSON. Matinee at l p.m, ,
JESSE THEATER ,8tsh, *
Double Feature.
‘JOE AND ETHEL TURP CALL ON
rHE PRESIDENT." with ANN SOTH
ERN. WILLIAM GARGAN. “THE
DESPERATE TRAILS." with JOHNNY
MACK BROWN. BOB BAKER. Matt
iee at 1 p.m.__
;ylvan l*tA8v‘e.*siwE-L
Double Feature.
‘WHAT A LIFE," with JACKIE
'OOPER. BETTY FIELD. “KONGA.
rHE WILD STALLION." with FRED
STONE. ROCHELLE HUDSON. MaU
nee at 1 p.m.
*ALM THEATER delvarat>
“THAT’S RIGHT,
YOU’RE WRONG,”
“DRUMS ALONG THE
MOHAWK,”
Vith HENRY FONDA. CLAUDETTE
X)LBERT. Matinee 1 p.m. _
:r-bethesda Bethesda. Md*
. Continuous GEORGE O'BRIEN in
S FIGHTING GRINGO.
BARTHOLOMEW. JACKIE COOPER.
"WO BRIGHT BOYS.”
Sunday—"BABES IN ARMS."
.4