Indianapolis Times, Volume 39, Number 315, Indianapolis, Marion County, 30 April 1928 — Page 7

[APRIL 30, 1928

PARDO BRINGS THIS F .‘GINGER’ GIRL ON fend This Gal Becomes One of Those Tiresome, Glorious Things Who Makes the Stage Different From the Regular Mine-Run. BY WALTER D. HICKMAN. NO matter how you sell a thing, it is how you sell it. I am telling you about the way Eddie Pardo “sells” a nice little “Cabbage,” as he might say, from Texas. 4 Just between you and I. it is reasonable to suppose that both Texas and Indiana are both my good States. Am trying to capture the spirit of entertainment that Pardo gives to “Ginger” Rogers. Here is a "gal” from Texas.

I believe that I have the right to mix up all the English expressions in the world to tell you about this

girl. Pardo is so sure of this, girl. He tells you about her before she lands on the stage. I can not and would not attempt to spell what she does in a comedy way on the stage. For instance, Pardo builds her “A1 Jolson” and “Harry Lauder” impersonations into a laugh and a ton of Tol era nee. It is Pardo who builds this girl into the

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Esther Ralston

beauty of extreme comedy theater. And Pardo knows .iust how long it Should be done. And she does it. This “Ginger personality under the fine touch of Pardo does the extreme of mental tolerance. She knows and he knows the value of that mental cash register known as the “different key.” Both touch that one key. They work together. No argument to it. Pardo is “selling” a different brand of fun that he has ever done here and he is doing it. This “ginger” girl and Pardo do that given thing that is called different. Here is a revelation on the part of Pardo and “Ginger.” Both are fine. That is enough. There are other people in this stage presentation. I remember these two. Both are real. I can not get wild about “Love and Learn.” The director is all wrong in the beginning and the camera man is all wrong in the way that he introduces the theme of the story. Esther Ralston is the only life saver that you have in this one. I like to get near the orchestra when Dave Silverman directs. An usher asked me “kindly” sit back in the rear. I did. And so there is no verdict this time on this really great conductor. I wanted to be near the pit. Many people enjoy him way back in the theater. That is true. We all do. But I hear with my “eyes.” I am sorry. At the Circle all week. a tt a TOf LIKE ATHLETIC EVENTS Sports have many times played the major roles in movies. This time it is polo that interests the director of the picture. There are many films that have used baseball, football and all the rest of the college sports. But seldom has there been a picture built around the rich man’s game, polo. "The Smart Set” deals primarily with Tommy Van Buren, who has more money than anything else.

As at, some time in every generation of the family, there was a man on the American polo team. The family is elated when Tommy is made a member. Tommy is more interested in a fast crowd than polo. and makes himself disagreeable with the team at the first/ by being obnoxious. In the meantime I he has fallen in

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William Haines

love with Polly, the daughter of Durtan, the man that he superseded. Tommy is a smart alec, but is rather funny with it all, and after a time makes a hit with Polly. The main event of the picture is the final game between America and England. Tommy, having been kicked off the team, is not trying to act interested. He goes into the game for Nelson, the captain, and the man whom he cut out with Polly. He does some wild riding and makes some sensational goals and wins the game for America. The whole picture is Tommy. His loves and happy moments and his moments of depression. William Haines does a good piece of acting as the smart alec. Alice Day is the

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girl Polly. She is good trying to be harsh with Tommy and then changing her mood. Jack Holt is Nelson, the captain of the team. Durant, the father of the girl is played by Herbert Bosworth, but he is not a very convincing father. A touch of pathos is addad by Coy Wilson, Jr., who is the groom Sammy. On the stage there is Roman Nights. The set is built as a Roman forum. The finale is the big thing with a chariot race. Rather thrilling to hear the thuding of hoofs and watch the horses run. There are six fellows dressed as tramps, who have been here before. They do a burlesque on the Spring Dance and a slave dance that had just preceded them. These fellow's are very good. The Lester Boys are eccentric and comedy dancers. Also mighty good acrobats at the same time. They have several new ideas in regards to comedy dances. Reta and Tesca, I think the names are, do the slave dance. This consists mostly of slow' acrobatic posing and some fast things now and then. Very good however. Russel and Marconni have a hot jazz attraction. One of the men plays the accordian and the other the violin. They go good together. There is a fellow that Charlie Davis introduced as being with Paul Ash but I could not hear his name. He sings several comedysongs and some others. They are good, and this man, besides being a good singer is also a wit of some worth. Charlie Davis introduces the act with one of these speeches where the boys in the orchestra play a bit of this and that to illustrate what is being said. The band also plays “Sunshine” and Dick Powell sings the chorus. There was an encore W'ith the violin and bass viol and several jugs. When I was there this stopped the show. The famart Set” is rather light comedy' farce but entertaining. The stage show has bits here and there that are knockouts. At the Indiana. <By r the Observer.; b u a HERE IS A REAL PICTURE Lon Chaney has many times changed his person and often times changed the appearance of his face so that he was not recognizable as Lon Chaney. In “Laugh, Clown Laugh, he has clown whiting on his face and even through his make up he predominated as the character actor. This picture is the life of the circus and show stage, ft shows

Tito, the clown grow to be one of the best in the business. It shows how his partner has made him. It shows the growth of Simonetta. When Tito was a traveling minstrel he found Simonetta abandoned in the grass beside the stream. He keeps her and names her after his assistant, Simon. As the girl grows older he finds

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that he is in love with her. but does

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Verdict of the Movies CIRCLE—Eddie Pardo and “Ginger” Rogers do the different thing of entertainment with a fine touch of knowing what theater is and should be. LOEWS PALACE —Lon Chaney does a marvelous characterization in “Laugh, Clown, Laugh.” the feature picture. This is about the life and loves of actors who must amuse no matter what the cost. INDIANA —William Haines has the leading part as the smart aleck in “The Smart Set,” which is built around the game of polo. “Roman Nights” with the chariot race is the stage presentation. OHlO—“Speedy”—the verdict has been given in this department. APOLLO—"Tenderloin," the verdict has been given in detail about this movie.

not tell her. The girl meets Count Kavelli, who tries to harm her Several years later they meet again. The count with an affliction of laughing and the clown with the affiction of crying. Simonetta does them both good. The count loves the girl and wants to tell her so, but she fears that he will try to repeat what he had tried to do years before and runs away. Tito thinks that the Count has evil intention, because he sent the girl pearls, the count shows what he had written on the back of the card accompaning them. The girl loves Tito so that she will discard the count so that Tito can marry her. Tito, knowing that he is too old, kills himself in a tragic w r ay. Chaney has done one of the best pieces of characterization that I have seen for some time. At no time does he forget that he is the clown. Even in the darkest moments it is brought to him that he should laugh and make his public laugh. Simonetta is played by Loretta Young. Most of the time her acting is not brilliant, but there are flashes of real genius. Bernard Segal has the part of Simon; he is rather good, but does not have a very heavy part. The Count Luigi Ravelli is played by Nils Asther. This man is good. He makes the count very' much a human character. He seems to get the right feeling to the part, Bobby “Uke” Henshaw was the hit of the stage bill. Henshaw has a novel entrance, making you wonder just what is to happen before he gets out in front. This man has a real line of nutty chatter and imitates several animals and birds and auto horns with a great deal of ease. He also does an imitation of a Hawaiian guitar and plays the "Stars and Stripes Forever” on the uke.

Raymond Eisman is a boy enter-

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THE INDIANAPOLIS TIMES

tainer, but he is far better than some that I have seen who had many years on him. Raymond sings w'ith a good voice and is a good tap dancer. There is another dancer that had a few steps that were good, but most of the time he spent dashing from one side of the stage to the other, as far as I could see, without dancing any. There is another dancer, Ethel Parker, who does an imitation of Kiki. This is fair, but she does another dance that is mostly the splits, and that is hard to do. Dusty Rhoads sings several numbers among which is his old standby about catching brass rings. There are other numbers by the chorus and the band that were good. The Organ solo as the favorite songs of the movie stars, a sort of a burlesque on present day situations about the various stars. The overture was the Russian Rhapsody w'ith Clarence Kaull directing and Emil Seidel at the piano. Siedel w'orks in the Russian Lullaby very effectively. Comedies, and newsreels completed the program. At Loew’s Palace. (By Charles Garrison. Concerning other reviews: I have given you what I have ana still think on two movies—They are "Tenderloin” at the Apollo, and Harold Lloyd in "Speedy” at the Ohio. The Berkell Playeis opened at English's in “Mary’s Other Husband”; Libby Dancers at the Lyric, and burlesque at the Mutual.

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The Soul of Body Is Found Old Songs Mean the Most to All of Us These Days. BY WALTER D. HICKMAN THE old songs like “Lindy Lou,” “Home, Sweet Home,” and the others mean the most to us. It seems to me that there was soul in the body as well as the voice of Mme. Galli-Curci as she stood before the Murat audience of Sunday. She of the mighty fine high notes. She of the bird tone became the i bird of longing. The bird of song ; that has entered many a soul. The bird that wants to fly way [ off some place. Just like the robin ; that may leave us any time. ! In winter is this robin! May leave! Here is the visitor of hope. So is Galli-Curci. In W'inter, in the ! spring, in the fall—any time is this genius of song. There is hope and a promise to Galli-Curci. She destroyed w'ith ! her own idea when she spoke: “My dear friends. I took a cold in the sunny South. I will do my best.” She is honest. Then Homer Samuels struck a key of the Steinway. It came true and honest. Then two numbers, I “Nina” and “Pur Dicesti.” There was some doubt. Then ; suddenly the Galli-Curci of the promise of all that we know- came on. Mo:.artwas her next composer Then things began to happen. The bird of song had forgotten the "sunny South.” Then “The Nightingale,” with Manuel Berengeur with .the flute, sooke of the past and future with the great singer. Not so strong in body is this singer—as yesterday. The spirit

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and the voice both are there. And after Samuels had done his very adequate part on the piano as a solo group, came the great woman. Then we knew more than ever. The saul of the body became the great artist. She did “Deep in My Heart,” “My Shadow, (by her own husband), and “By the Fountain.” Then suddenly the audience lifted itself upon an old tune that became a glorious benediction. It became the soul of an old refrain of love’s sweet song. Theater left. Stage left. Walls left. Everything left but the great thought behind the meaning of it all. The voice true and all so honest in its purity of message. We cried. We thought. We dreamed. That is the message of a song, that is the message of those who sing. Then more old tunes. “Home, Sweet Home,” became the dream that we all have lived or hoped to have lived. After all of this—this gracious truth of “Dinorah.” Here was the soul of the artist. Here was the mechanics singing. Here was the bird on the wing—the marvelous thought of the past and the grand hope of the future. This was Galli-Curci to me. Another triumph of the soul of music for Ona B. Talbot who presented Galli-Curci at the Murat Sunday.

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PAGE 7

tainments he did a dance cumber while standing on a spade, and as far as he knew, was the originator of the spade dance. Hence the name of Spader has always clung to him. It is Spader's chief joy to entertain the kiddies and mingle with the youngsters that visit the big SellsFloto circus. He will always have some nick-nack for them, a picture book or a fund of stories that appeal to the little visitors of the circus. In speaking of clowning as a profession, Spader says, “Clowns are born and not made.” Present-day youngsters do not think of clowning as a profession. Few, if any, care to go through the preliminary hardships of circus travel, yet, year after year new funsters appear, but where they come from no one seems to know. Most clowns represent generations upon generations of circus performers and contrary to expectations, clowns are not decrepit acrobats. Most clowns are nimble and agile performers and can do any sort of acrobatic work. Spader Johnson will greet local boys and girls here with the SellsFloto circus, coming Tuesday, May 1.

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