Indianapolis Times, Volume 41, Number 102, Indianapolis, Marion County, 7 September 1929 — Page 7

SEPT. 7, 1929

CHARLIE DAVIS AND BAND HAVE FUN IN ‘RAH, RAH, RAH’

“Speedway,” With Many Scenes Made in Indianapolis, Opens Today at Loew’s Palace With William Haines, Anita Page and Torrence in the Cast. THE Indiana Is now offering as their stage presentation for a week, “Rah Rah Rah” with Charlie Davis and his band together with a girls’ orchestra and a big Publix cast of stage talent. “Dark Streets” is the picture production. It is an all-talker starring Jack Mulhall and offers to motion picture audiences the first dual role in the talkies. Jack Mulhall, erstwhile comedian and now dramatic actor of power, plays the role of twin brothers, one a cop and the other a crook. “Dark Streets” depends for its story on the resemblance of the brothers. One grew up in way of the law, and the other found a career

outside the law. They attempt to protect each other, although still remaining within the code of their own worlds. To complicate matters they are both in love with the same girl, played by Lila Lee, who. being able to pick and choose, can’t decide which one she wants. “Dark Streets” is the film adaptation of Richard Connell’s “Pat and Mike.” a Cosmopolitan magazine story. “Rah Rah Rah” is a Publix production, devised and staged by Jack Patington, with Art Frank, the grandad rs whoopee; Helen Lewis and her collegiates, ten masters of melody, the Foursome quartet, Barbara Vernon, Marie Pauli and Lew Beck. Charlie Davis and his, orchestra have arranged a special prologue to the show, which includes a medley of collegiate musical comedy tunes. Dessa Byrd at the organ and a Paramount talking news reel complete the program. a a a ELIZABETH PATTERSON IN APOLLO MOVIE A college show, staged with all the lavishness and color of a Broadway production, is “Words and Music,” Fox Movietone musical revue which w’ill be the attraction this week at the Apollo starting today. Singable, whistleable songs, a well balanced cast, gorgeous costumes and a beautiful collection of girls in ensembles give this production rank with Broadway’s best. Lois Moran. Tom Patricola and Elizabeth Patterson heap individual honors on themselves. Miss Moran, making her musical comedy debut, establishes herself as a marvelous singer and a dancer. Patricola was the star of George White’s “Scandals” for several years and is well-known in vaudeville. In this picture he has created anew dance with the assistance of Bubbles Crowell and a group of dancing girls, which undoubtedly will become popular throughout the ocuntry. It is called “Steppin’ Along." On the Vitaphone presentation program you wil see and hear Whiting and Burt, famous vaudeville headliners and musical comedy stars and a comedy sketch called “The Opry House." Clark and McCullough in a late Movietone comedy act and \ the Fox Movietone News will com- | plete the bill.

a a a INDIANAPOLIS MADE MOVIE NOW AT PALACE Sensational speed on a great racetrack, before thousands of spectators; high powered cars roaring around curves in America's great speed classic; breath-taking stunts in an airplane climaxed by a parachute Jump in which William Haines, dropping from a WTecked plane, carries Anita Page to safety—these are some of the the thrills in the thrill classic of the year, "Speedway,” Metro-Goldwyn-May-er’s sound synchronized racing drama bringing William Haines to the Palace theater on Saturday. The great Memorial day race at the Indianapolis track was used as a background for the production and Ray Keech’s sensational victory in the five hundred mile drive furnished a thundering accompaniment for the love story that was the central thread of the picture. More than twenty-five thousand extra spectators, it is estimated, attended the races to catch a glimpse of the movie celebrities, as Haines, Ernest Torrence. John Miljan and Karl Dane all drove in the race. Incidentally, famous racing drivers turned actors, too, for many of them were induced to don movie make-up for the picture. So curious did the crowd become over their appearance that finally an explanation of the panchromatic make-up was megaphoned to the grandstand. Indianapolis traffic was jammed, when Haines drove a racing car down the main street, with police impressed as actors, too, in a comedy highlight of the play. The new story by Byron Morgan author of the famous Wallace Reid plays, was directed by Harry Beaumont, the director of “The Broadway Melody.” Haines plays a wisecracking young auto mechanic who finally wins a place as a racing driver, and Miss Page is the aviatrlx with whom he falls in love. She takes him on an aerial joy ride, manages to wreck her plane by “stunting” to scare him —and he stages the thrilling rescue. This was all done in close-ups. and .s probably the first time two celebrities of their magnitude worked such a thrill without doubles. Haines says this is significant of the fact that aviation is coming more and more to be realized as a safe and reliable form of travel. Indianapolis honored this picture company, between scenes, at the banquet opening the Aircraft exposition* when Haines, Ernest Torrence, John Miljan, and Karl Dane, together with Beaumont and the technical staff, were guests of honor, and Miss Page attended as the guest of the Governor’s wife. Several of the sensational accidents in the race, too, were caught bv the cameras at the track and will add to the thrills of the production. In fact, audiences seeing the picture will see practically all the actual thrills of the race in addition to the dramatic love story, interspersed with flashes of Haines’ whimsical comedv. Souftd apparatus at the races recorded the roar of the crowd and the thunder of the racing cars, the whine of the super-chargers and the rest of the vivid aural detail of the atory. Filming and directing the actors while racing was an odd task. Huge signs were used as signals, by the director, and prior to the actual race, preliminary scenes, tuning motors in the garages, changing

tires in the pits, and so forth, were filmed. Many of the famous race drivers, such as Leon Duray, Jimmy Gleason, Cliff Woodbury, Frank Farmer and others are caught in action in the film. Added film novelties comprising the surrounding program include an M. G. M. color classic, “The Princess of Destiny,” adapted to the screen from one of life's great events. George Dewey Washington, the vagabond baritone, will be seen and heard in anew Metro movietone act. The M. G. M. international news reel, a cartoon comedy, Fox movietone news and Lester Huff at the organ console round out the bill. a a a “FAST LIFE” OPENS AT CIRCLE Striking drama and wide human interest is woven into the problem of secret marriages between modern youngsters in “Fast Life,” the new First Natlonai-Vitaphone alltalking special opening today at the Circle theater. Loretta Young and Douglas Fairbanks Jr., two of the screen’s most popular young people, portray the secretly married ultra-modern pair in this fast-moving “talkie.” Chester Morris, who played the same role in the stage play and who also scored a big hit in “Alibi” is also featured. Ray Halor, Rita Flynn and other youthful screen folk are also prominently on hand. “We couldn’t have treated this subject of youthful wedlock so vividly and at the same time with no preaching and no sacrifice of dramatic quality, nn entertainment value, before the era of the talking picture,” is the opinion of John Francis Dillon, who directed “Fast Life.” Some innovations in talking picture art such as scenes that go on uninterruptedly for ten minutes, make the film breathless with suspense from the novel and daring “whoopee” party at the start, to a thrilling but happy ending. “Fast Life” is based on the play by Samuel Shipman and John Hymer. On the program of short subjects this week are Arthur Pat West and Paul Cunningham and Bennett. A tc’king news reel will complete the bill.

n n MARX BROTHERS! FEATURED AT OHIO The Marx Brothers, long known as the world’s funniest men. have carried their inimitable fun-making to the screen in “The Cocoanut,” opening today at the New Ohio as the second of the New Show Era features to be shown at this theater. It is an all-talking, all-singing, alldancing. all-laughing Paramount production. Groucho. the talkative member of the Marx quartet, introduces an interminable line of funny chatter that keeps the picture bubbling with laughter. Harpo, with his dumb show and his constantly changing pantomime, is always surprising and Chico pulls some of the funniest stuff in the whole film. Zeppo, who always plays straight, is not only the successful foil for his mad brothers, but he steps once or twice for jesting honors. Joseph Stanley and Robert Florey directed together. Irving Berlin wrote the music for the original stage production and contributed the theme song. "When My Dreams Come True.” Oscar Shaw and Mary Eaton, stars of “Five O’clock Girl,” and other musical comedy successes have the romantic leads in the picture. On the supplementary program is an all-talking comedy “Ain’t It. the Truth,” and Vitaphone short subjects.

Carillon Program

Following is the program to be played by Anton Brees on the Scottish Rite carillon on Sunday, Sept. 8, 4 o'clock p. m., and Tuesday, Sept. 10, at 8 o’clock. •'Wedding March” from ‘‘Lohengrin” R. Wagner "Jesus. I Live to Thee” Bradbury "Saviour. Like a Shepherd Lead Us” Bradburv "Work, for the Night Is Coining".L. Mason "Awake. My Soul" Beethoven Minuet" Boccherini "Oh. Sweet Mystery of Life”.. .V. Herbert "Sonny Boy" Ai Jolson •How Can I Leave Thee?” Mendelssohn • Indiana” j. F. Hanley "Star-Spangled Banner” Key

At Colonial

“Speeding Up,” will be the offering at the Colonial the coming week. Comedy, song numbers, added vaudeville specialties and picture numbers will be found on the bill. “Baldv” Hill and Jimmy Bova handle the comedy lines. Among the new members of the cast are: Camille Gardner, a soubrette, who sings songs, “Dutch” Moon, juvenile, and “Sleepy” Chapman, straight man. ‘The River Woman.” a synchronized music and sound picture, will be shown on the screen, featuring Lionel Barrymore and Jacqueline Logan.

MOTION PICTURES ICED ALWAYS AIR '•Vw/*’* COOL Premier Indianapolis Showing LINA BASQLETTE ‘Come Across' TALK AND SOUND Night dab life that Is different. Talking Review—First Ran News Sun., Flret Sheering. “College Lavs”

1— Douglas Fairbanks Jr. and Loretta Young have this pleasant task in “Fast Life,” now at the Circle. 2 Elizabeth Patterson, Lois Wilson in the all-talker, “Words and Music,” now at Apollo, now at the Apollo.

Irvington School to Open Season Many Important Master Classes Are Now Announced. THE Irvington School of Music announces the opening of the eleventh season. Monday, Sept. 9, with four branch studios in the city and one in Terre Haute. The school is progressing in number and size. Madame Baihle Steinhart, a recent addition to the faculty, and a concert pianist, will hold master classes in piano at the school and downtown branch for advanced pupils and teachers. Signorina Adelaide Contee is preparing to have a master class in New York next summer, and already has a number of students enrolled, This master class will include lessons every day in voice, Italian, French and Spanish diction, stage deportment, pantomime and makeup. Trips to the different artistic buildings and places of musical interest will be included for recreation. The play-acting shop is planning to turn out some very unusual work this year. Some of this material will be used in connection with radio work. An Irvington Community band is being organized by Mr. Carlin, instructor of band instruments, at the school. Any one wishing to join may do so. Gives Up Sleep for Golf Harry Bannister, making his talking picture debut opposite Ann Harding in her second Pathe talkie, “Her Private Affair,” gets up at five each morning in order to have a round of golf before starting the day’s work at the studio.

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The International Uniform Sunday School Lesson for September 8. Cooperation in Religious work. N’eh. 4:6, 15-21. By WM. E. GILROY, D. D. Editor of The Congregationalist A PEOPLE with a mind to work can accomplish a great deal. Walls are built stone by stone, but it is amazing how fast they rise when many hands co-operate and each man builds his part. That is plain, prosaic fact In every time and circumstance. For the rest, our lesson is largely one of symbolism in its relation to modern life. We are little concerned with wailing about an ancient Jerusalem, but there are modern abodes and holy places that need to be safeguarded against enemies. The rebuilding of their homeland and institutions by the Hebrews who returned from their exile in Babylon was not without difficulty. Their task was like that of the pioneers in our own land ■who had to guard themselves from enemies while they built their homes and communities. In those days a wall was still a protection to a city and safety often depended upon the care and success with which the walls were kept intact and in good condition of repair. The returned exiles were relatively few in number, and they had large tasks to perform. Their enemies also, harassed them constantly, so that it was probably not to their discredit, but due to some disaster over which they had no control, that the walls of Jerusalem were reported to be in bad condition, with the gates masses of charred wood. The report concerning the walls was brought from Jerusalem to Nehemiah by his brother, Hanani. Nehemiah was cup-bearer to Artaxerxes Longimanus, the king of Persia, a position that brought him in close relation to his sovereign, as it was his duty to taste the wine offered the king so as to make sure it was not poisoned. A man in such a position, how-

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THE INDIANAPOLIS TIMES

Weekly Sunday School Lesson

3 Nick Stuart, Sue Carol and Walter Catlett as they appear in “Why Leave Home," opening today at the Lyric. 4 The Marx Brothers in a scene from “The Cocoanuts,” now at the Ohio. 5 Karl Dane in a scene from “Speedway,” opening today at Loew’s Palace. 6 Jack Mulhall plavs a dual role in “Dark Streets,” which is now showing at tho Indiana,

ever, can not presume too much on his master’s favor and it was with some trepidation that Nehemiah requested permission to go and build the walls of his beloved Zion. There were enemies, too, who sought to

Will Sing

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George Dewey Washington One of the features on the Metro Movietone program now at Loew’s Palace is the singing of George Dewey Washington.

' J... PICTURE YOU'VE BEEN WAITING FOR! FILMED RIGHT HERE IN INDIANAPOLIS! DON'T MISS - A j§J? M-G-M. GREAT EVENT COLOR CLASSIC “PRINCESS of DESTINY" M-G-M GEORGE FOX INTERNATIONAL DEWEY MOVIETONE NEWS PICTORLVL WASHINGTON NEWSETZE

1 prevent the accomplishment of his purpose, and who for a time seemed likely to succeed. Our lesson comes to the story of the actual wall building, and describes vividly the conditions under which it was carried on. Enemies had to be fought off cs the work proceeded, and the w jrkers kept one hand for the work and the other for their weapon of defense. The sword and spear were as essential as the level and trowel, and the trumpet as a. rallying call summoning all where some emergency of danger existed symbolized the unity and mutual aid with which the whole enterprise was carried on and fulfilled. It is thus that all great enterprises are carried out in life, and all good causes advanced and safeguarded. “Eternal vigilance is the price of liberty.” The world needs its Nehemiahs—its leaders of initiative, skill and vision. Enthusasm ; and good will are not enough withj out leadership and skillful planning and achievement. But it is in co-operation that plans come to fulfillment. Nehemiah could never have built the w-alls himself. “The people had a mind to work.” That tells the story; that is the great message that comes to us from the life of the Hebrew exiles recolonizing their ancient home. Modern Zions are no different. Especially does the welfare of a democracy depend upon the popular mind to work and the co-opera-tion of all in securing and maintaining the common weal. What wails need building in modern America? What existing walls are weak and in need of strengthening? Where can we find our appointed tasks, and give our service in the common need and responsibilities? The world needs Nehemiahs; but it needs also the willing hands and the ready feet to answer at the trumpet’s call

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Kenton to Direct a Big Movie Selected to Produce for Columbia 'Song of Love.’ SPECULATION as to who woula be entrusted with the direction of “Song of Love" ended this week when Columbia Pictures announced that Erie C. Ketnon has been assigned to handle the megaphone on I this ambitious roadshow vehicle which will introduce Belle Baker to the screen audience. Not a small factor in Kenton's selection was the great success achieved by his latest special, “Father 1 and Son.” which followed its outstanding Broadway run with record breaking showings all over the country. His masterly handling of its paternal love theme will again be given full scope, as “Song of Love” is an absorbing story of a fampus vaudeville headliner’s love and sacrifice for her son. It will be not only one of the most elaborate, but also one of the three roadshow productions on the company’s 1929-1930 itinerary. Erie C. Kenton, one of the screen’s ace directors, was started on his brilliant directorial career, by Columbia, when he first used the megaphone on “A Fool and His Money.” This was followed by an association with Fox, Warner, Paramount and De Mille. Since returning to Columbia he has been responsible for such successes as “The Sporting Age,” “Name the Woman,” “Street of Illusions” and “Nothing to Wear.” Mr. Kenton’s versatility and his special penchant for sophisticated comedy and human interest drama will be given full play in his direction of “Song of Love.”

Louth Judd the wodd; loving! PETTimg! forgetting! j / See what a price this beautiful juuntf / / bride pay, for her guarded ferret! fi\£S’‘S*r§Sß jf With anew shew world ca*t sea- wt !Esln* > ///, v turtng— endorse f S/.'/ s ,\ 1 one o’ ntctnree. . Douglas Fairbanks Jr. > * Chester Morris 1 ' WWJ- /7///y//^Z^^^ \ Loretta Young mMilll///WM&%iZ ; rauTl „.p at Ihl. realistic V V'■ jtlf i, drama of America’s youth! Boys and girls alike crying ~ for speed, epeed, speed! All Talking - EflalCTM'.; h

Oakie Is a Hit in the All-Talker Miss Lulu McConnell Gave This Wise-Cracker • His Start. THOSE thousands of aspiring and perspiring youngsters who want to have the short road to moving picture success mapped out for ■ them can do no better than receva tbeii directions from Jack Oakie. Slightly more than a year ago, Cakie, with only a comparatively short period of stage training behind him. went to Hollywood simply for a breathing spell between musical comedy and vaudeville engagements. He planned no picture career for himself; he had no idea that he could “catch on” as a. filmcomedian. Oakie, however, met Wesley Rug- ; <ries. Universal director. Ruggles persuaded him to take a part in “Finders Keepers.” and the newcomer scored an immediate success. Last week, just a year later, h® was handed one of the film plumsof the year—the lead in Radio Pictures’ “Hit the Deck,” adapted from the long-run musical comedy of the. same name. Oakie’s career, brief but colorful* explains his rapid rise to stardom- ’ After his graduation from De La Salle high school in New York City, he “went into Wall Street"-—as a very lowly clerk in a very busy office. He didn’t do much work, but he gave everybody in the place a lotof laughs. His reputation as a smart-cracking humorist spread, andwhen May Leslie started to cast for Junior League’s charity show of 1919she found a place in the cast for Oakie. Wall Street was forgotten fromthat time on. > Lulu McConnell, famous comedienne, “caught” Oakie’s act, in the Junior League frolic and she suggested a partnership that lasted until 1927. Asa team they played in “Innocent Eyes," “Artists and Models,” two editions of “The Passing Show,” “Ziegfeld's Follies,” and in “Peggy Ann,” filling in between times with vaudeville bookings over two-a-day time. Then Oakie went to the coast, and scored in Fuggles’ picture. He clinched bis success in a series including “Close Harmony,” ‘‘The Fleet’s In," “The Wild Party,” “The Dummy” and “The Man I Love.” A reunion with Ruggles came when Oakie was cast as a comedy lead in Radio Pictures’ “Street Girl,” now playing at the Globe theater. His effective work in that all-talk-ing musical drama led Radio officials to unanimously select him for the leading role in “Hit the Deck,'-* which goes into production at an early date, under the direction of Luther Reed who, by the way, won the “Hit the Deck” assignment as a result of his excellent work on “Rio Rita.”

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