Indianapolis Times, Volume 39, Number 285, Indianapolis, Marion County, 26 March 1928 — Page 5

MARCH 26, 1928.

GABRILOWITSCH AND THIBAUD 1 JOIUHECITAL Inspiring Concert Is Given to Large Audience by Yolando Mero. IT was refreshing to study the technical perfection of Ossip Gabrilowitsch, pianist, and Jacques Thibaud, violinist, in a joint recital i at the Murat, Sunday afternoon. Judging by the way the audience received these two artists and the genuine appreciation bestowed by those present upon the artists, it is to be regretted that more people were not present. Here was a splendid example of what I call technical perfection as 1 round in two men, one a pianist and the other a violinist. Neither go in for spectacular fireworks. Both arc masters of what we call technique. Gabrilowitsch in his individual contribution showed that he can play a marvelously beautiful Chopin and that his modern Ravel is tantalizingly interesting and that of Brahms is one of great beauty. While playing for Thibaud during the Brahms “Sqfiata in D Minor, Op. 108,” we could well recognize the masterful touch of the pianist. Thibaud always has what I call a sure Violin as to tone. In his solo work, Thibaud created ®. sensation, causing several people in the audience to shout their approval. “La Folia” and “Rondo” caused Thibaud to become a favorite. He responded with several encores. Beethoven’s “Sonata in E Flat Major, Op. 12” was played by both Thibaud and Gabrilowitsch. Here was Beethoven the way I like it played with sympathetic understanding. Ona B. Talbot has introduced us to two interesting masters. The next time they come here I hope the theater is packed. (By Walter D. Hickman.)

MERO HAS INSPIRING CONCERT The concert of Yolando Mero, pianist, at the Indianapolis Maennerchor yesterday was the most inspiring presentation of piano numbers that one could ask to have given on a beautiful Sunday afternoon. Agreeing with other critics who call her “a cyclone in yellow silk,” I must add a most emphatic note of approval of her charming smile which made her audience enjoy hearing a happy artist who enjoyed playing for us. The tone color and touch of her first number, “Organ Concerto,” by W. F. Bach, swept the listeners off their feet into an afternoon’s program full of exciting enthusiasm for the power and talent which the artist displayed. Our pleasure at hearing her play such a heavy number was heightened by our realization of her technique. Mme. Mero’s second group included four Chopin numbers, “Variations, Op. 12;” “Larghetto,” “Valse” and “Bolero.” to which she gave an encore. The first was a happy number with a varied motif and the second a most soothing piece. The “Valse” was a light, quick bit. her rendition of which seemed all the move marvelous because she had been so magnificent in her first number, “Organ Concerto.” The emphasis in the fourth number of her second group. “Bolero,” was expressed most beautifully in her powerful way and the tone w r as exquisite. Debussy’s “Reverie” and “Passepied,” opening the third group, impressed upon my mind the fact that I was listening to a most human artist. Then followed Gabrilowitsch's '‘Caprice Burlesque,” Ernest Schelling’s “Silhouette Y. M..” a piece written for Mme. Mero. and Agghaey’s “Etude in Octaves." Indeed, Mms. Mero must be blessed with “fingers of steel.” She was given rounds of applause and received it all with a cheery smile which could not but come from a happy heart. Her last two program numbers Were “Etude A Flat” and “Rhapsodies both by Liszt. They were exquisitely done, renewing my faith in her ability to make a mere piano sound like an entire orchestra. Her final encore was Liszt’s well-known “Liebestraum.” The next Maennerchos concert will be April 15, when Hans Kindler, cellist, will appear. (By Mary Farmer.)

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CHARLIE IS AT HIS BEST IN ‘CIRCUS’ Richard Barthelmess Sure Has a Dramatic Winner in ‘The Noose/ and It Again Proves That This Young Man Has Come Back Mighty Strong. BY WALTER D. HICKMAN MY verdict on “The Circus” is that Charlie Chaplin has not been funnier and that he is at his best. Chaplin is the most pathetic funny character that we have on the screen because in every laugh he gives you there is that element of human pathos which comes from the soul. Up to seeing “The Circus,” I considered “Shoulder Arms” the best of this comedian’s movies.

On seeing “The Circus,” and studying it carefully, I come to the conclusion that this movie tops anything that Chaplin has given the screen. There are many reasons for this, the chief one being that it is the Chaplin of the other days in appearance, the funny walk, the cane and the queer little hat and the tremendously funny little mustache. He looks Chaplin and is the old Chaplin. In “The Circus,” Chaplin is a tramp who blows in on the lot in the day when the world's greatest attractions traveled by wagon. The first comedy touch in on the lot in the days when the world’s greatest pocketbook containing real money. When he disd'seovers it, he immediately starts buying all the “hot dogs” on the lot. But he shows the pocketbook just as the angry owner appears. Then we have one of the funniest chase scenes ever staged between Chaplin, the real pickpocket and the police. Some of the scenes

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Charlie Chaplin

are staged in the old carnival racket known as the House of a Thousand Mirrors. The photographed results are startlingly iunny. Just prior to that scene we have one of the funniest bits in the movie—a proud father is holding his child in his arms as he talks to a friend. The child is holding a big “hot rim?” snnriwirh in hi*

Chaplin’s mouth begins to water and he starts eating the sandwich as the child holds it. At one time Chaplin even puts mustard on it. When the father turns around, Chaplin takes out his handkerchief, wipes the child’s mouth. The way Chaplin puts over this scene is a comedy riot. Most of the picture is devoted to the efforts of making a circus clown out of Chaplin. Here you feel the pathos of his attempts to act funny and his rehearsal scenes are wonderfully funny. Os course Chaplin has a chance at romance, but in the end he has to give up the girl to a lad she loves. “The Circus” tells the human story of a tramp who tries to be a clown. And Chaplin leaves you by doing his funny little walk as he starts out to be a tramp again. I believe that Chaplin has ripened his art and increased his pathos which is the bases of all comedy. Sarah Bernhardt before her death made a statement that she thought Chaplin was the greatest soul comedian. She certainly said a truth in that. Emil Seidel in his overture. “Operatic Airs;” is doing a thing this week that will make him a world of friends and at the same time increase the musical appreciation of thousands of people -for better music. In the orchestra pit with the musicians this week are three singers, Rome and Dunn and Miss Silvers of New York. They sing many of the passages from the operas. All are splendid singers and the effective work of the orchestra coupled with that of Seidel makes this overture the most important and pleasing that I have heard in this city for several months. It seems to me that since we have so much jazz music on the stage that it is wise to have the other kind in an overture. Seidel, I judge, has this same idea and he certainly is working it out in a manner most satisfactory to all. Then the overture goes into a ballet, which Is well done. Rome and Dunn also appear in the stage presentation and their singing stops the show. They were here last week and are being held over. They deserve the honor. The stage presentation is called “Bubbles,” and the finale set is a beauty. Irving Berlin’s newest song is introduced in this presentation. Dusty Roades has a chance to show what he can do. He is in Seidel’s orchestra and sings in the presentation andtfilso comes in on a chorus while Lester Huff is at the pipe organ. Huff is giving us a real novelty this week, as he is making the audience sit on tht trial of popular music as the jury. There is a dancing team, man and girl, who do some wonderful highkicking. A great team and I am sorry that I have misplaced the names. There is also a man who is a good whistler. The girls in the dancing chorus are well trained. Teddy Joyce as master of ceremonies is seeing to it tha the presentation has speed. He is doing a violin novelty number this week which registers with the audience. Now on view at Loew’s Palace. tt tt tt STAGE SHOW AT INDIANA IS WINNER Fans have always given beauty and grace to the persons who know

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how to use them. Small and large fans, feathers and lace all go into the presentation of “Milady’s Fans.” The stage show is better than the one on the screen at the Indiana. For the music fans Rae Eleanor Ball has a real treat. She is a violinist of quite some ability and specializes on harmony produced on two strings. She plays "Serenade.” Dorothy Neville, a soprano, sings several songs that verge on the classical. She has a very good voice and puts a good deal of charm in her song. There were two men, whom I fail to find listed on the program, that have a clever novelty dance act. The first part is of the ghost variety, and then they do an eccentric dance using whisk brooms. It is more or less simple dancing, but the brooms add a touch all of their own. Clever stuff. Boyce Combs, who has been seen on the stage before, tells his story of the Englishman and the pepper and sings his song about being ab-sent-minded. There are a lot of laughs in this act. Other dancers were Bernice and Emily, who do some of the best duet dancing of the acrobatic kind that I have seen in many a day. Ojeda and Imbert have a Spanish dance that is very pretty. The Ada Kaufman girls make up the chorus and weild their different fans in some good steps. Charlie Davis, besides conducting the orchestra this time, participates in a little skit. Charlie is the husband that goes on a business trip and tells the man in the cabinet goodby. Its been done before, but not by Charlie. “Gems of the Opera” is the solo by Maurice. He plays three numbers from grand opera, using Tanhauser, Thais and Paglccci for the heavy numbers, and then plays a pretty popular piece to finish with. This, I think, is the best thing I have heard Maurice do. Here is a study of emotion in lights and shadows as cast by the swinging of the pendulum of life. Love cast into space and made to right itself. Tire “Heart of a Follies Girl” is not a brilliant plot, but it is enhanced by the acting of Billie Dove and Larry Kent. The story of a man. a poor young man, who stole and lied to gain the love of a certain girl. It is the story of riches and poverty, of exaltation and despair. “Billie Dove is “Teddy.” one of, the leads in a follies show, and digging a little gold on the side, harmlessly enough, from an admirer, Roger Winthrop. Winthrop, played by Lowell Sherman, has an accident and sends his secretary, Derek Calhoun, Larry Kent, to take Teddy to dinner on her birthday. Derek falls in love with her and gets the impression that she cares for riches more than real love, after she has told him that she was once poor. Trying to forget, and failing, he forges his employer's name to a chack and buys a diamond ring for Teddy. Winthrop sends him to prison, but Teddy, really loving him, marries him first. He escapes from prison on New Year’s eve, just when there is about to be a parole for him, and Teddy finally convinces , him that the thing to do is go back

231-237 W. WASHINGTON ST.

THE INDIANAPOLIS TIMES

to prison and come out a clean man. Miss Dove, in this picture, is emotionally better than any I have seen her in. You revel in her joy and despair with her in her anguish. She has made Teddy O’Day a very real person. Larry Kent has done a good piece of work, and gets the “feel” of Derek, especially in the lower moments when the shadows arc deepest. At the Indiana. (By the Observer.) n tt n GOOD FUN IN ATOLLO FEATURE They were going to cure*her of thrills, but thrills didn’t come too fast or too big for Esther in “Something Always Happens.” Then from the fun to the real thing and Esther finally decided that she had had enough. Miss Ralston has the part of an American girl, who was in England

to marry the man of her desire. After several nights of learning to play chess and trying to knit she wanted action, and got it when she learned that thieves were after a familjy’ewel. Neil Hamilton, who is the fiancee, planned a little surprise for her in the way of excitement in an old abandoned house. After thrills had

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Esther Ralston

worked her up. the real thieves arrived on the scene and one of the men in the joke was killed, the picture became melodrama. Tortures are planned by a Chinese person, who is after the jewel and many fights ensue and finally every thing turns out all right. I am not trying to belittle the picture, for it has the action that is essential to good mystery. Things happen so fast that chills keep running up and down the back. At least they did on mine. Miss Ralston has here an opportunity to do some real work, something more than be scenery. Her support, Neil Hamilton, is projected into the background, if such a term may be used, very effectively. He forms the basis of Miss Ralston’s action. The plot is substantiated by these actions and they are natural enough if the person doing them had not fainted, as I should have imagined a girl would do under these circumstances. Still girls don’t faint so easy fhese days. The remainder of the cast did good work, but they were but shadows crossing the picture. This is a good mystery, melodramatic farce. At the Apollo, ißy the Observer.) tt a tt BARTHELMESS NOW HAS ANOTHER RE \L WINNER When you study the career of Richard Barthelmess and his sudden return as a public favorite, one is convinced that maybe it is a handicap to have a winner near the beginning of one's career on the screen . “Tol'able David” made Bart holiness one of the most commanding favorites on the screen. And then he began slipping with some silly stories. Tiien First National gave him “The Patent Leather Kid” and

Barthelmess again became one of the most popular stars. And now First National lias given Barthelmess “Tli e Nocse," which in my opinion, is one of tlie best dramatic-melo-tiramatic pictures that we have had this season. There is something entirely new in this movie, the use of natural lights in the cabaret scenes. And these cabaret scenes

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are the real article, just like they were in “Breadway.” The girls in these scenes do not seem to act but arc the real product of this “school"’ of entertainment. “The Noose” tells the story of a lad who has been educated in being a booze runner for a mighty bad outlaw. When hijackers take away the booze load of Dick, he Jongs to be a regular fellow and he tells you that he doesn't know whom his parents are. Then Buck Gordon, his crook boss, tells him that his mother is the wife of the Governor of the State and that. Buck, was his father. Buck prior to that has killed a rival booze iead.er and he tells Dick that he has to go to his mother and blackmail her into giving him a pardon if

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things go wrong. Dick decides to die with his secret- and he kills Buck. Dick, who plays the role of Nickic Elkins, is sent to prison and then the trial scene is just suggested—a wonderful handling of the situation. We then see the fight of Nickie to keep his secret, and he does. Then the fight of the Governor's wife to save her boy and keep the knowledge from her husband. She succeeds in both, but I will not tell you how, because there is enough suspense in “The Noose” for at least three movies. In going back to the use of natural lights I think that there is room for improvement, because some of the photography is cloudy and not even all the time. But I think the experiment is worth trying. Barthelmess makes one feel the purpose of his silence and his suffering, and I am sure that most j of us feel just like Dick did when he ! started his death march to the gallows. Here is realistic direction and wonderful photography. Lina Bas- 1 quette does some fine emotional work in several scenes. Alice Joyce is cast as the silent suffering wife 1 of the Governor. The cast is as follows: Nickie Elkins Richard Barthclr'ic's Buck Gordon .Montag i Love Jim Conley Robert E O'Connor Tommy Jay Eaton not Linn Basonettc Phvllis Thelma Todd Seth McMillan Fd Brady Dave Fred Warren Bill Chase William Davidson Mrs. Bancroft Alice Joyce The Warden William Wallins The Governor Robert T. Haines Oraic Ernest Hilliard Priest Emi'e Chantard Judge Romaine Fielding "The Noose” is a picture that you will want to see. Don’t miss it, because it is one of the dramatic treats of the season. Bill includes an orchestral overture, a news reel and Dessa Byrd at the pipe organ. She is another grand success this week. At the Circle. a tt tt MENTAL REACTIONS DEVELOPED AT OHIO Can something be two things at the same time? Can a person have two mental reactions going on at the same time, and still be normal? j With this in mind, after I have seen the picture, I have tried to decipher “Come to My House.” This is the story of a girl's indiscretion when she went to visit a man who was supposed to be a womanhater . This girl had just become engaged to one man. in self defense so she said, when she visited the house of the other man, early in the morning. And someone found it out and tried to blackmail then^ The whole affairs was aired in court after the woman-hater had killed tlie blackmailer. Then society, and even the man who was engaged to her, turned against her. The story is rather confusing in that it hints at certain things and goes on to exemplify certain actions without the onlooker knowing just exactly what has happened. Just what this indiscretion might be seems to be rumor, and the im- . prossion is given that it is untrue.

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yet other actions substantiate the rumor. Clive Borden is cast as Joan Century, the richest and prettiest girl in the metropolis, who became engaged to Douglass Pell, played by Cornelius Keep. Then she has her tryst with Floyd Bennings, who is played by Antonio Moreno. She confesses in court what happened, and saves Bennings from the electric chair. They finally marry. Miss Borden gives her character the appearance of a girl who faces the world and will bluff all comers. She makes a very indifferent Joan. Moreno is playing the part of Floyd Bennings and is supposed to be a woman-hater, but he fails in this characterization, but that makes little difference, for after he meets Joan he falls in love with her. Both of them do nice work. Douglas Pell is the other side of the triangle and it is made clear that he will eliminate himself, merely by

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his actions toward Joan. It seems that this picture is trying to show that convention may be refuted, but it fails in actually doing it. However it is fair entertainment. At the Ohio. (By the Observer.) a o a “KING OF KINGS” RETURNS TO ENGLISH’S It is appropriate at this time of the Lenten season that “King of Kings” returns to English’s for the week because this story of Christ is most beautiful to see at this time. On its previous visit to English’s I went into detail concerning the story, the cast and; the way the character of Jesus was done on the screen. I consider “King of Kings” one of the ten best pictures ever made. I consider it as theater and I do not care to get into any religious arguments about the theme. I

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think it is inspiring theater and should be seen by all people. At English's twice daily, afternoon and night. Other theaters today offer; Flo Lewis at Keith’s, Billy Sharp and company at the Lyric end “Frivolities” at the Mutual. Short Talks by Thoughtful Mothers A New England Mother says: “Our children are very susceptible to coughs and colds. Being located some distance from town, we felt the need of a good dependable cough medicine, and when our druggist recommended Foley’s Honey and Tar Compound as the best in his experience, we accepted his judgment gladly. For coughs, croup, whooping-cough, troublesome night coughs, bronchial coughs, we have tried it time and again, always with complete satisfaction.”—Advertisement.