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The Washington times. [volume] (Washington [D.C.]) 1902-1939, February 07, 1933, Image 22

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By Mark Hellinger —
4 o’clock in the morning and high time 1 was in bed. But
the events that took place during the day that ended with
the boarding of this train were so ridiculous that I’d like to
set them down before I turn in. lam now in .lugoslovakia
and the Hungarian customs’ officials arc far behind. So I
imagine that my story can be told without trouble of any kind.
As I have written before, all moneys must be declared upon
entering any nation in central Europe. If they
you run the risk of having all your dough confiscated when
you are examined upon leaving the border. That is the law
of these countries and there’s nothing you can do about it if
you run into trouble. Declare your money and you’re all
right. Don’t declare it—and look out.
No Exaggerations
Keep those facts in mind as
I tell you the rest of this yarn.
And rest assured that I exag
gerated no circumstances as 1
report it.
Yesterday afternoon, just as
I was finishing my column, I
was advised by cable that $2,000
had been sent to me in care of
a bank in Vienna. I was al
ready in Budapest and hated
the notion of traveling back to
get the money. So I phoned
the bank in question in Vienna
and asked them if the money
could be forwarded to Buda
pest. They said it could—and
they gave me the name of the
institution in which I would
find it in the morning.
So far, so good. At 10 o’clock
I presented myself at the proper
spot and bowed to any number
of officials. I had an inter
preter with me, of course, and
through.him I stated my wishes.
I was leaving for Athens that
night, I said, and I would like
to get my money as quickly as
The general manager, I was
told, would like to see me. I
walked up two flights and he
saw me. He asked me how I
wanted my money. I told him
I wanted it in American dollars.
He held a whispered consul
tation with his staff. They be
gan to argue among themselves.
Fifteen minutes went by. He
turned to me.
“We will give it to you,” he
said, “but we must charge you
l’/2 per cent in order to give it
to you in dollars.”
What could I do? What
could anyone have done? Since
I was leaving that night, Hun
garian bills had little value to
me. So I accepted the stiff
charge, plus the forwarding
expenses from Vienna to Buda
pest, and told them to give me
my money.
No Money in Bank
Slow? Ye gods, it was terrible!
They had nothing like $2,000 in
American money in that bank—
and they had to send around
town to get it. And the bad
feature was that I had to be
at another bank before 12
o’clock in order to get permis
sion to take it out of the coun
try. it was money, you see,
that hadn’t been declared on
the way in.
At 14 minutes to 12—on the
nose—l finally got my money.
Three clerks had checked every
denomination and when they
eventually shoved it over to me,
I almost fell over. The pile was
larger than Camera’s feet. There
were few big bills; most of them
being ones, twos and fives. But
they all spelled dough. So I
grabbed the bills and ran. I
had to be at the other bank
before it closed.
Sound incredible? Had I done
anything wrong? Why did I
have to get permission to take
from the country what had just
been sent in? What was the
whole thing about?
You’re asking me . . .
The interpreter looked at his
watch—and then at me.
“We will just about make the
other bank before it closes,” he
asserted calmly, “and I would
like very much to urge you to
let me do all the talking. You
are inclined to be a trifle nerv
ous, sir, and that breeds suspi
cion over here. I will get you
permission to take your money
out, sir. But let me urge you
again to let me handle every
I told him to go to it. What
else could I do?
The Guide Explains
At six minutes to twelve we
were in the proper place. The
guide explained my needs to
a solemn gentleman with short
hair and a long coat. He told
us to go upstairs and see an-
When The Feature Is
Shown On The Screen
RIALTO— TaIa Birell in “Na
gana.” At 11 a. m. 12:48, 2:36.
4:24, 6:12, 8 and 9:48 p. m.
FOX— Marion Nixon in “Face
In the Sky.” At 11 a. m., 1:40.
4:25, 7:35 and 10:10 p. m Stage
shows at 12:30, 3:15, 6:13 and 9
p. m.
PALACE— Eddie Cantor in “The
Kid From Spain.” At 12:15, 2:35,
4:55, 7:15 and 9:40 p. m.
In “Hello, Everybody.” At 11 a
m„ 12:48, 2:35, 4:25, 6:10, 8 and
9:45 p. m.
RKO KEITH’S — Carole Lom
bard in “No More Orch’ds.” At
11:50 a. m., 1:48, 3:45, 5:44, 7:43
and 9:40 p. m.
COLUMBIA — Barrymores in
VRasputin and the Empress.” At ;
B:30 and 8 30 p tn
EARLE — Barbara Stanwyck in
“Ladies They Talk About.” At
11:15 a. m., 1:50. 4:25. 7:10 and
9:55 p. m, Stage shows at 12:55,
8:30, 6:15 and 9 p. m. i
other gentleman. We climbed
the stairs. The other gentle
man had long hair and a short
coat. He listened carefully and
told us to go back to the first
gentleman. The matter was
not in his department.
By this time, I was on the
verge of insanity. The guide
was begging me to be quiet, and
I was all for taking a punch at
nim for no good reason. A bell
rang suddenly. The bank was
At exactly twenty-five minutes
to one, the first man we had
seen—and one of the vice-presi
dents of the bank—stood and
listened to my story. Both men
had their hats on and a watch
man was all ready to throw me
out bodily. I made one last,
desperate effort.
“Tell these mugs,” I cried,
clutching my interpreter by his
lapels, “that I am neitner a
bum, a convict nor a criminal.
All I want to do is leave the
country with my money. What’s
wrong? What's the trouble?
What’s it all about?”
“The trouble lies with the
other bank.” he replied. “These
gentlemen say they had no night
to give you any American
money. It is against the law
for you to have it.”
“But I’ve got it,” I shrieked.
“It’s in my pocket—and it’s
mine. If they don’t let me out
with it tonight, maybe I’ll spec
ulate with it. Maybe I’ll buy
half the country. Maybe I’ll
hire an army. My God, I’m
liable to use it for almost every
Everybody Agrees
The guide repeated my words
to the two men. They looked at
one another, and the vice presi
dent nodded. They spoke to
the guide. The guide nodded.
Everybody nodded. I nodded,
too. Why not?
“They say,” whispered the in
terpreter, •‘that you are right.
You have made a bold and
successful stroke. They are
going to give you permission to
take the money from the coun
try—in traveler’s checks.”
In Traveler’s checks! Sore as
I was, I had to grin to my
self. Traveler’s checks were
okay with me because that, at
least, meant that I could get
out of the country. But it also
meant that the American money
was staying right there in
Hungary. They weren’t letting
me get out with that by any
matter of means.
I could write on for plenty of
columns to tell you what hap
pened after that—but I'm near
ing the end of my space. So
I will merely state that, even
though all banks were closed, I
was able to get my traveler’s
checks without any trouble.
When you are able to pay for a
service, it’s surprising how
accommodating these foreign
banks are.
There isn’t much more. I
boarded this train, clutching two
precious documents close to me.
One contained my traveler’s
checks. And the other, even
more important, gave me per
mission to take the checks from
the country. When I handed
the latter document to the
customs’ officials, I was to be
safe at last.
As I told you in the opening
of this story, the Hungarian
customs are far behind. I still
have my precious document
which I shall never need. After
all my trouble, they never even
paid me a visit!
Salmaggi to Give
‘Carmen’ Feb. 12
For its second gala performance
in this city at Washington Audi
torium. Sunday night, February
12, at 8:30, the Chicago Opera
Company will present Bizet’s Car
men” grand opera in four acts,
with a cast of principals including
Pasquale Amato, Giuseppe Rada
elli, and Rosita Fordieri.
The great role of Escamillo, the
toreador, will be sung by Pasquale
Amato; that of the unhappy Don
Jose, by Giuseppe Radaelli. The
role of Micaela will be sung by
Ethel Fox, the young American
lyric soprano. Zunica will be sung
by Nino Ruisi.
The cast includes, also, Fran
cesco Curci, Eugenio Prosperoni,
Enzo Reali, Elizabeth Krisler, and
Bernice Schalker. Gabriele Sime
oni will conduct. The chorus and
orchestra will both come down
from New York city for “Carmen.”
’tT.Vd -lU J
and JOE “Hey! Hey!” YULE
jerri McCauley
■■■ — '—l ■■■■
Fred Keating Is
Excellent As
Leading Man
Tallulah Bankhead’s return to
the footlights after a spotty caree.
as a screen celebrity was marke:
at the National Theater las;
night in a new comedy, “Forsak
ing All Others,” produced undei
the aegis of Arch Selwyn.
At one time in its travels tn
■ search of a producer the opus
was called “There Was I.” This
title was probably dropped as too
I revealing and reminiscent of Vesta
i Victoria’s mournful lyric, “There
Was 'I Waiting at the Church.”
Left at Church
For the new Bankhead play is
about a girl, an ultra modern ano
glib sophisticate, who was jilted
in her becoming white bridal garb
just as the organist was playing
the Mendellsohn march. A sud
den romantic impulse of the
groom-to-be who thought it a
splendid idea at the time. That’s
| act one.
Acts two and three are con
cerned with Mary Clay’s re
pressed desire to repay her in
I considerate Romeo, to even with
i the love snatching wife, and in
: finding the right man on whom
I to bestow her desirable affections.
It turns out to be Fred Keating,
(Yes, the magician, but without
his canary) and I am glad there
was no hocus pocus about it for
I suspected him from the middle
of the first act.
This is a sketchy outline of a
rambling play that has some real
moments of gay banter, some
dramatic situations that are preg
nant with possibilities left under
nourished by the playwright, some
stretches wherein the dialogue is
neither brittle or bright enough
to forestall restlessness.
Flavored with speakeasy humors,
the incidentals characters are in
some cases grossly underwritten,
notably the Mary Duncan role, the
slightly passe spinster of Cora
Witherspoon and an engaging dis
ciple of the Beethoven art who
never gets congenially niched into
the plot.
Rich Potentialities
As a matter of fact the second
act of “Forsaking All Others”
conceives two moments of such
rich potentialities it seemed a
pity they must sputter and die
without providing the expected
thrills. They were: 1. When the
runaway bridegroom returns next
day to tell the jilted Mary why
he gave her such a shabby deal.
Here was a finely built-up supense
completely wasted by a combina
tion of weasel words and feeble
‘ acting by an actor ‘ who was
frankly not up to it. 2. When
the jilted Mary meets twice in a
I speakeasy the girl who stole her
man you expect something real
to happen. There are, of course,
some fireworks, but the balloon
fails to go up, if you know what
I mean.
Tallulah Bankhead ’as Mary
Clay (“The Forgotten Woman”)
is a glamorous creature, so as
sured and breezy in her dealings
with susceptible males it leaves
you stunned she could be so
readily gulled. The Bankhead
voice is rich and deep and gar
nished with a husky laugh. Her
role is well served with repartee
but all night long one waits for
Tallulah to pull out all emotional
stops and burst into a red fury.
But she never does.
Keating Is Fine
Fred Keating, the reformed
magician, makes a fine leading
man and is the beneficiary of the
i choicest nifties in the author’s
scrip. Cora Witherspoon glows in
limited comedy opportunities and
Mary Duncan. Donald MacDonald
: and Neil Waterman were others
who provided excellent support.
Douglas Gilmore impressed me as
' miscast.
“Forsaking All Others” has a
i church scene with wedding finery
! that sets feminine tongues wag
ging. The same vestry setting
i seemed a wholly inappropriate
place to unloose the most shock
ing profanity of the play.
There were flowers, and bows,
and curtains galore at the finish,
for the Bankhead following from
Capitol Hill was out in force.
/ jyHI
X JBLrag " :M
"**lk <
MARION DAVIES, famous screen star, who has start
ed work in “Peg o’ My Heart,” for M-G-M. Frances
Marion wrote the scenario and Robert Leonard is direct
Will Rogers Is Funny As Valet
For a Prize-Winning Hog
On Sunday night the Fox was
host for a preview party at which
“State Fair” was the main screen
“State Fair” is a pastoral ad
venture fashioned from the novel
It happens to
be a movie with :
little plot or
suspense but an
abundance of JsK
rural incident gSM
that is quaintly
humorous and
highly interest- ■
ing. In fact
it's a bang-up
rpovie for any
In it you will
see the Will MtaWR
Rogers philos-
ophy addressed A?iDREW K - kelley
to a prize Hampshire boar called
Blue Boy and the quaint wisdom
uttered by the cowboy makes the
role a laugh gem. Janet Gaynor
really acts instead of trying to
be coyly sentimental and there
are first-class performances by
Sally Eilers, Lew Ayres. Norman
Foster. Louise Dresser and Frank
Craven. You can see it has a
great acting cast.
“State Fair” was written by
Phil Stong just after he joined
the army of unemployed. He
was radio editor of the departed
New York World and lost out in
the World-Telegram merger. Then
his book became a best seller and
Hollywood made it a great year
by buying the movie rights. Fox
gave him a twelve weeks’ contract
at SSOO a week to advise and
supervise the making of his story.
That was more money than
Author Stong ever had in one
lump before. “State Fair” being
definitely bracketed a hit pic
ture, Mr. Stong is fingering a
number of choice offers for fur
ther fiction.
Newsboys at Roxy
Circulation-Director Bill Shel
ton piloted a group of Times-
Herald prize newsboys to Radio
City Music Hall on Sunday and
a quick fun trip to New York.
They dined at the Hollywood
Night Club, took in the Madison
Square hockey match in the
What amazed our circulation
chief was not the magnitude and
the beauty of Roxy’s Sixth Ave
nue architectural dream but the
bewildering prologue put on for
the picture, “Sign of the Cross.”
For this spectacular introductory
to a feature film the Radio City
Music Hall offers a fleet of
prancing horses drawing chariots
in a treadmill race with the lurid
flames of burning Rome as a
spectacular finale. It was worth
going to New York to see, re
ports Mr. Shelton, and witnessed
from the divan seats of Roxy’s
new palace something to shout
Katherine Cornell’s “Allen
Corn” will sell out the entire
M fa d S Hffi!
J She lint Millions For Love
Starting Friday
Nancy Carroll
The National Daily
engagement of eight performances
at the Maryland Theater in
Baltimore next week. Selling out
is not such an epoch-making feat
even in Baltimore, but going clean
sor K a play which has yet to be
seen in a first performance is
something of a record.
Mail orders for the Cornell
play came from as far south as
Nashville, with a big delegation
coming down from Buffalo.
Kate’s Big Wage
Kate Smith has outgrown the
salary limit for headline acts in
the Washington movie houses.
It's not what it used to be, mean
ing both the maximum star wage
and Kate’s price for warbling
four times a day, five on Satur
days and Sundays.
Washington friends of Harriet
Hoctor will tender the ballerina
a party this afternoon at the
Bekefi Institute of Music and
Dance, 2040 S St. The reception
is listed for 4:45 p. m. or the
interim between the late matinee
and first evening shows at the
Earle Theater.
New York Critics Here
Quite a delegation of New York
columnists and picture critics
came down last night for > the
Tallulah Bankhead premiere, the
Alabama - Washington - London-
Hollwwood-Broadway star being a
favorite with the little Algonquin
group. Eddie Melcher had a
cracked ice and tall glass get
together before the first curtain
with Ward Morehouse, and John
S. Cohen, jr., of the Sun; Lucius
Beebe and Richard Watts, jr., of
the Herald-Tribune, and Jean Dal
rymple among those greeted by
the local intelligents.
Broadway Is Hit
Broadway is in a death struggle
with Sixth Avenue with the movie
audiences as the main prize. Up
to date Radio City is diverting
about $150,000 a week from the
Main Stem. Loews, Inc., right
in the middle of the battle, has
leased the Ziegfeld Theater, will
go after the Sixth Avenue trade
with Metro-Goldwyn product. It
expects to grab, too, some of the
Radio City overflow, if any.
The Paramount, Capitol, Strand,
Wintergarden, Rivoli and Rialto
.have been hit hardest by Radio
City. The old Roxy has cut to
25 and 35 cents to meet the new
opposition. The Paramount re
duces its prices to 50 cents next
Millicent Hanley will take over
Mary Duncan’s role in “Forsak
ing All Others” tomorrow or
Thursday night. Miss Duncan
leaves the Bankhead play to re
turn to pictures with M.-C.-M.
Entire Broadway Revue
and his Park Central Orchestra
Original Cast of 88
DEcatur 5250
Franchot Tone Is
New Hollywood
(Copyright. 1933. King Feature*
Syndicate, Inc.)
HOLLYWOOD, Feb. 7.—New ;
est sensation in Hollywood is;
young Franchot Tone, not so long ;
ago president of the Cornell Dra-J
tnatic Society and more lately of
On the strength of one picture.
Joan Crawford’s “Today We Live,”
Mr. Tone is proclaimed a find,
and is assigned to portray the
hero of “Bombshell,” a story about
Hollywood which has been so
kind to him.
Furthermore, he is to appear
opposite Jean Harlow, another
major star on the Metro-Goldwyn-
Mayer lot.
This youthful leading man is
not new, however, to the business
of supporting prominent actresses,
was he not Lenore Ulric’s vis-a-vis
in “Pagan Lady?”
Around the lot. Tone is a very
approachable young man with a
nice smile and a humorous glint
to his eye. He is a bachelor, lives
in a small beach cottage at Santa
Monica, and is fed and groomed
by a Korean house-boy.
He took Joan Crawford out
dancing one night with Doug
Jr’s, full consent, and he’s still
amazed at the amount of talk it
But if you want to see him
really nervous, just call him the
new comet in the cinema sky.
Hollywood Parade
It looks very much now as if
Joan Crawford and Douglas
Fairbanks, jr„ may not see each
other in New York. Due to
added scenes on her picture, she
can’t leave here until a week
from today. Doug Jr. must re
port to Warners on the 15th.
Their trains may pass each
other. Madge Evans, all dressed
in green, had lunch next to me
at M-G-M yesterday. I asked
her again about her reported en
gagement to Tom Gallery. Says
she: “When I’m ready to go back
to the stage, I may get married.
While I’m in pictures, never!”
Like you, I wondered “how
come,” and she replied: “Because
it is practically impossibfe to stay
married in .this business."
Does .it stfike you funny that
the Fox property department :
heats Elissa Landis uniforms to
a comfortable temperature before
she puts them on every morning?
They are for “The Warrior’s Hus
band” and are made chiefly of
metal ... Birthday greetings to
Ramon Novarro who’ll be another
year older on Monday.
Did You Know:
That Director Irving Cummings
once worked as a bank clerk at
Forty-second Street and Fifth
> ;. -, ..«
latest screen vehicle, “No More
Orchids” is now on the screen
at R-K-O Keith’s Theater.
J (NATIONAL t a^2 7
■ ■’ Mats., Wed. A %at. at 2:20
I Nights. 55c to (2.20. Mata. Wed.
and Sat.. 35c tn (1.65
■ ARCH SELWYN Presents
The Uisttnguiahed Star
A Comedy
| bv Edward Roberta and frank Caven
» With An All-Star Supporting Cast
I ri ” FEB 1 3 th
Monday ■ UU * 1 W
I No mail or phone orders accepted.
Engagement positively end* Sun.,
'fSi Feb. 26
Ar MA/tC
Price*—Night*. 50c to $2.56. Wed
“Forsaking All Others’’ Proves a Comedy
About a Girl Who Was Jilted
■■■k JSSSmSSSSStX-*■■■■■■■■
NANCY CARROLL and John Boles in a scene from
“Child of Manhattan,” coming next to RKO-Keith’s. Mr.
Boles, in this picture, seems to be using jewelry as a per
Late Stage News
From Broadway
NEW YORK, Feb. 7.—Helen
Flint, last seen here in “The
House Beautiful.” has been en
gaged for the only female role in
the “Hangman’s Whip,” which is
scheduled to arrive on Broadway
the evening of February 23.
Francis Lederer, now appearing
in “Autumn Crocus.” has accepted
an invitation to select, and pos
sibly to direct and act in, a play
which will be presented this sum
mer at the Chicago World’s Fair
in connection with the exhibition
of Czechoslovakia, Mr. Lederer’s
native land.
lan Keit will have a prominent
role in “Hangman’s Whip,” by
Norman Reilly Raine and Frank
Butler. Already engaged for the
piece is Montagu Love. Rehearsals
begin next week under the spon
sorship of George Kondolf and
Merlin Taylor in association with
William A. Brady, jr. The play
will be offered here late next
A “$2 top” will be charged for
tickets to the evening perform
ances of “The Sophisticates” fol
lowing its opening night next
Monday. February 13. at the
Bijou Theater. The play is be
ing produced by Shepard Traube
with a cast which includes Helen
Brooks and Ben Lackland.
Elizabeth Miele took “Trovarsi,”
a new Pirandello script, with her
when she sailed for Bermuda last
week and will make an adapta
tion of it for J. J. Shubert.' Last
season she adapted another
drama by the Italian playwright,
“The New Colony,” which is still
on the Shubert production list.
Miss Miele plans two productions
under her own name here in the
spring. One is a drama oy
Jessica Ball titled “Strange
Gods,” and the other is one of
her own, “Diversion.”
George Likes Blonde
George Raft, soon to appear
with Miriam Hopkins in “The
Story of Temple Drake,” admits
his favorite color is blonde.
Radio Stars in Film
Bing Crosby and Burns and
Allen, of radio fame, all will be
in Hollywood early in February
for “College Humor.”
■I Barbara
IbJ WAR.K&Q. £«OJ-
—On Stagt —
o»suf« I |
“~ In First Starring Pictura
< MILLS IMS. (to
Newspapermen to
See Negro Play
In an effort to ascertain the
probable reaction of Southern
theatergoers to his play, “The
Green Pastures,” when it under
takes an extensive tour of the
Southern States in September,
Rowland Stebbins, producer of the
Marc Connelly play, has extended
invitations to newspaper men on
26 Southern newspapers to visit
Washington at his expense and
witness the work during its en
gagement at the National The
ater, commencing Monday, Feb
ruary 13.
When and if “The Green Pas
tures” invades the South, it will
mark the first time, so far as is
known, that an all-colored enter
tainment, designed strictly for
white patronage, ijas ventured be
low the Mason-Dixon line.
Among the editors who have
thus far accepted Mr. Stebbins’
invitation and who will undertake
to advise him regarding the feasi
bility of a Southern tour are
Wade H. Harris, editor of the
Charlotte (N. C.) Observer, George
Carmack, city editor of the Mem
phis (Tenn.) Press Scimitar, and
W. T. Christian, city editor of the
Richmond (Va.) News-Leader.
Sings His Own Song
Maurice Chevalier will sing his
first originally-composed lullaby
in his next Paramount picture,
“A Bedtime Story.” The lullaby
is “Monsieur Baby.”
Likes Kid Actors
Wesley Ruggles, who has been
assigned to direct “College Hu
mor,” would rather work with
young, comparatively unknown
actors than with established stars.
mnniHn nixon
II u<. a, fox piCTun.l ,1
BRxfe VHA»imßLin
. Ted LEWIS /Lynn (union
N. / ninx cfliiG
w■ 1 j■ V 1 Tfl °‘ »***
QfaotlMq LAST WEEK of
cantorO 1
iAM UEI \k-
Vf'-J’uda'i, N GOIOWVHE
jntnE ounnn The kid.
fmn SPAIN*
uxirto aqtut’f fictuhf
230 E

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