Indianapolis Times, Volume 47, Number 269, Indianapolis, Marion County, 18 January 1936 — Page 4

PAGE 4

Vanities' and 'Amateurs' Play on Indiana, Lyric Stages

Earl Carroll Improves Musical Revue for Return Presentation in This City; Major Bowes' Unit Gives Smart Show

BiTly House, Comic, Fills Double Hole, and He Succeeds. BY JOHN W. THOMPSON Billy House, the elephantine comedian, is trying to fill two pair of shoes left vacant by Bobby Clark and Paul McCullough in the current Earl Carroll’s “Vanities” at the Indiana— and he’s doing a splendid job of it. Working at break-neck speed, Earl Carroll himself revamped the "Vanities” yesterday morning to fit Mr. House into the show. Skits had to be rehearsed and action had to be learned. From 8 a. m. until the first show started, the entire cast worked hard to form a typical Carroll show. As far as we are concerned they succeeded. It’s bangup entertainment with almost anything along the musical revue line you could wish for. Mr. House, we understand, worked practically all Thursday night, learning his parts in the show. Yesterday he sweated and puffed through the first show, groping in places, but coming out on top always. Even the cast seemed pleasantly surprised at the inevitable House asides and ad libs which have made Billy one of the stage's most infectious comedians. Show Improved Besides Mr. House, Mr. Carroll has greatly improved his show since it last was seen here. He has had to speed it up to make it work into a movie house program and that evidently has helped. If there was any chance for the “Vanities” to drag before, there is no more. The "Vanities” are staged in the traditional Carroll manner, with individual specialties edged in between production numbers. It is a well-balanced program, with only Lucille Page seeming to do too much work. The best of the individual dancers is Buster West. His eccentric soft shoe number “wowed” the audience at yesterday’s performances. He conveniently combines comedy with trick dancing. Miss Page’s "moderne” number, staged under blue lights, is her best solo. Her acrobatics can hardly be compared with those of any other dancer on the stage today. Part Is Amplified Jean Lorraine’s part in the show has been amplified and she helps humorous “black-out” sketches with her a-kimbo strutting. Miss Lorraine’s Spanish specialty is among the high points of the show. This she performs with the aid of the male chorus (an adept one). The girls in Mr. Carroll’s show are, if anything, above his usual high par. They all are beauties, nearly all different types, and every one a credit to the show. There is a general lack of nudity, which is unusual but extremely refreshing in this "Vanities.” The show numbers include the "Great Waltz,” featuring Miss Lorraine and Mr. House in a comedy costume dance, and “Love Clouds,” which has as the centerpiece the Carroll chorus carrying silver balls. Unique lighting and the dancing of Miss Page add to this one. Mr. House Funny Os the "black-outs,” perhaps the one in which Mr. House appears as the philandering hubby in a stateroom is best. Here he attempts to get his wife away so the sweetheart can come in. The situation is an ancient one, and the funniest part of the skit is the way in which Mr. House misses the light cues. They come on when he turns them off and vice versa. Charles Carrer’s juggling Is a good contrast for the rest of the show, and is performed with enough speed to keep it from interfering with the tempo of the revue. The greatest addition Mr. Carroll has made to his show is bottled up in the Cirillo brothers, a quartet of young men who can do almost anything well. They start out as hill-billies, with Bronx quirks in their voices. They end up in tails and white ties, and are seen in a snappy dance finale. These men •are truly funny. A1 Sexton sings the production songs, and the Crane sisters are seen in several short bits. The picture at the Indiana, “Her

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Garbo May Get Shiny New Car Used Car Dealer Said to Have Offered Good Trade. Timps Special HOLLYWOOD, Jan. 18.—The movie capital is waiting breathlessly for confirmation of a story that seems to have come from automobile row. It is gaining momentum rapidly, and if true, is big news indeed. Garbo is going to get anew automobile! And she’s going to get it almost free, in exchange for her 1927 sedan. It seems that a used cur dealer has contrived an ingenious scheme to buy the old cars of first rank screen stars, and sell them at fabulous prices to wide-eyed movie fans. The dealer is said to have cabled an irresistible offer to Garbo, who is now in Sweden, and meanwhile has offered amazing prices for the automobiles of Joan Crawford, Norma Shearer and Jean Harlow. Beauties Given Chance to Act 19 Girls of 'Great Ziegfeld’ Win Minor Roles. Time* Special HOLLYWOOD, Jan. 18 —Glorified beauties selected on a }>asis of pulchritude for scenes in “The Great Ziegfeld” are being rewarded with acting roles in forthcoming productions. The group of 19 girls has been assigned minor roles in Ben Ames Williams’ “Small Town Girl,” starring Janet Gaynor and Robert Taylor. Each is to have an individual acting part, and those showing talent are to be given more important opportunities. The girls, each with a probationary contract, are to piake their acting debut with a notable cast, which also includes Lewis Stone, Binnie Barnes, Isabel Jewell, James Stewart and Frank Craven. Master’s Voice,” stars Edward Everett Horton in another of his comedy character roles. This time he is the hen-pecked husband who finally gains the upper hand, but not before he causes plenty of commotion and heart flutterings. We won’t let you in on the whole story, but just imagine Eddie Horton as a radio crooner and you have the tone of the film. With him are Peggy Conklin and Laura Hope Crews, and Indianapolis’ own Elizabeth Patterson, who contributes heavily to the success of the picture. “Her Master's Voice” was pre- | sented here last season by the Civic Theater and did well. It makes a si bstantial companion piece for the “Vanities” without being a letdown. It is not Mr Hor- ; ton at his “Top Hat” best, how- | ever. “Hank” Henry And His 10-Piece Orchestra Fraternity nr Sorority Bailees a Specialty 2513 Park Ave. HE-4922 Dance Harold e Every X Cork's Sal. St Sun. | Orchestra HARBOR Saturday. 50c Couple Before 9:30—75c Couple 9:30 to 12—50 c Couple 12 to 1— 25c Couple After 1. Sunday, 30c Couple. I^^OneJJlocl^Sojal^lunicijjal^lrjgor^^

Negro Entertainer Carries Away Honors With His Stunts. Loring Smith, a genial master of ceremonies, leads the members of the Major Bowes “Amateur” Unit No. 3 through a smart show of variety entertainment at the Lyric, in which a personable little “cullud” boy tops the program off by loudly “Kicking the gong around.” The entire Lyric bill this week is on the light side of the ledger, the film offering being Frank McHugh’s laugh piece, “Freshman Love.” Most of the Bowes amateurs are presented in snappy skits, which lift the show above the rating of the last group of his proteges seen here. The show never drags, has versatility and talent to spare. Singer Has Talent There is Mona Bradley, tall brunet who won a place on the bill by singing on Major Bowe’s program only last Sunday night. She sings, “I Love Life,” lustily and with apparent talent. And there is also the Harmonica Sextette, a group of boys who are experts at making mouth organs sound symphonic, even when they play jazz. Paul Regan pulls down the house with a series of impersonations which are among the best we have seen among professionals or “amateurs.” His best work is done in take-offs on Lionel Barrymore, Charles Laughton and Joe Penner. Mr. Regan has a lackadaisical stage manner about him which is catching. He should do well. “The One-Man Band,” who goes by no other name, performs interestingly and tunefully in several popular numbers, the best of which are “Tiger Rag” and “The Music Goes ’Round and Around.” His music is performed on five or six varying mouth-pieces, into which he vocally imitates various instruments. He also has a drum, tambourine apd cymbal, which he operates at the same time. Boy Plays Violin For the classical side of the bill, the Major sends us Lester Schnitzer, youthful violinist, who plays (on a valuable old violin loaned him by the Major) “Perpetuum Mobile,” by Ries, and a Kreisler composition. His style, technique and melody are much better than that of most good boy fiddlers. Lewis Costelli plays a couple of accordion numbers with tripping fingers and good harmony, and Kathleen Ray, a personable blond aristocrat from the West, sings some top-notch blues songs. She has a pleasing voice, a “taking” personality. Gloria Ruch, who created quite a stir when she toe-tapped over the “mike” on the Major’s program some weeks ago, is here with the show. Her toe-tapping is performed with agility end ease, and her singing is even better than her dancing. Now we come to little blackfared Adolphus Robinson, the Negro boy, who romps on at the last of the show, and rings the bell (not the gong) from the moment he steps on the stage. In Calloway style, Adolphus struts on in derby hat and “grown-up” clothes. His answers to Mr. Smith’s questions are rapid and clever. At Home on Stage His singing is not so good as singing, but there’s plenty in the way he sings. He thinks nothing of throttling the microphone, talking to it, swinging it around him and acting as much at home on the stage as he would behind the business side of a watermelon. Frank McHugh is the highlight of “Freshman Love,” the Lyric’s picture. He is crew coach for a scholastically inclined university and it's only after some clever work by him and Patricia Ellis that he is enabled to build a winning crew for his school. If you like Mr. McHugh you’ll like “Freshman Love.” Miss Ellis looks as though she might come through O. F.. as a heroine, sings nicely and looks better with a Jean ArtSfir dye in her hair. George E. Stone and Warren Hull are in the cast. (By J. W. TANARUS.)

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THE INDIANAPOLIS TIMES

Plays Role in Civic s Mystery

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Prominent in the cast of “Kind Lady,” the mystery drama which opens at the Playhouse tonight as a Civic Theater production, are Marcella Parry, Cecilia Vonnegut and Clifford Courtney (above). The play is to be presented at the Playhouse throughout the week. Frederick Burleigh has directed the play and designed the settings.

Players Braved Flying Bullets in Making'Professional Soldier' Victor McLaglen Suffered Throat Irritation, Freddie Bartholomew Sprained Ankle in Action Scenes. Feeling of security followed screening of “Professional Soldier,” appe .ring at the Apollo. No delusions or trick camera effects were used in the production in which Victor McLaglen charges his way courageously through perilous scenes to new film laurels. Several casualties resulted from the rapidfire action, but Mr. McLaglen, frequently exposed to danger, required medical attention only once.

In one scene Mr. McLaglen is shown hurrying across an exposed area, with Sydney Jordan, noted sharpshooter and rancher, laying down a barrage of gun fire in the hero’s path. Bullets Fly In the same scene, bullets from Mr. Jordan’s repeating rifle nick walls close to the heads of the actors, the riccocheting slugs furnishing added thrills for cameramen and director. Asa rule, the studio physician remains close to the telephone in case of emergency, but during the filming of "Professional Soldier” he stationed himself on the set with an assistant doctor. Their services were needed repeatedly. Not only the battle scenes were fraught with possibilities of danger. Mr. McLaglen was required to. demolish the interior of a restaurant in a knock-down-and-drag-out fight with waiters. As the hero is a powerful man who puts his heart in h*s acting, 13 professional stunt mm were hired as extras. Furniture and bottles were hurled in all directions during the fracas. Irritates Throat In one scene Mr. McLaglin tears a machine gun from its mooring, carries it across an area sprayed with rifle fire and discharges it in short bursts to screen his movements. When the scene was completed it was found his throat had been irritated by tne acrid smoke from the over-heated weapon which had to be fired with the water-cool-ing jacked emptied. Little Freddie Bartholomew, costarred in the picture, escaped serious injury when he ran in front of a revolving boom and tripped. Quick action by Mr. McLaglen, who scooped him up and carried him to safety, averted serious injury." A sprained ankle, however, kept the

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boy star off the set for several days. Even a cameraman was injured when Mr McLaglen, scuffling with an opponent, rolled into a supporting column which jarred the frame rigging loose from the rafters. A falling bean' struck the foot of the man behind "he camera. It was an occasion of solace when the powerful hero completed his heman activities, and filming was started on the more romantic scenes featuring Gloria Stuart and Michael Whalen. Western Thriller on Alamo Screen Bob Steele comes to the Alamo today for a four-day engagement in his latest Western thriller, "Alias John Law,” in which he plays the role of a rancher who is mistaken for an outlaw. His life made miserable by Federal authorities, the star sets outi to apprehend the real gangster who resembles him in appearance. Then the shooting starts, and it is not a simple matter to bring the criminal to justice. “Personal Maid’s Secret,” starring Margaret Lindsay, Ruth Donnelly and Warren Hull, is the added feature. It is the story of a young married woman who tries to buy her way into society, a move that is complicated by an ambitious maid. Short reels supplement the double feature program. H^ld^P^emiere^^^^ 7| “April Blossoms” Richard Tauber J “LONE WOLF RETURNS” ■4. Melvyn Douglas Music! Laughs! 1-ove! | jyj EDDIE CANTOR 1 “Strike Me Pink” I Merman —Sally Eilersl PCTK-Sj LAST TIME TODAY Geo. O’Brien In Zane Grev’s Novel “THUNDER MOUNTAIN” Plus “SMART GIRL”

Villain Now, But He Can Work, Also Joseph Calleia Is Familiar With Tricks of Many Trades. BY PAUL HARRISON HOLLYWOOD, Jan. 18.—(NEA)— A versatile fellow, Mr. Joseph Calleia. Just now he is in the villain business, but if he ever tires of being hated by the screen fans he can turn to any one of several familiar occupations. He is pretty good at firing a furnace, and is handy around a car barn. He has played the harmonica professionally, Rnd sings tenor creditably enough that he has earned his keep on a concert tour of Europe and in musical comedy. No Scotsman, he nevertheless, can do a Scotch turn in vaudeville, having been exposed to Sir Lauder at an impressionable age. Mr. Calleia has composed some pieces for the piano, has rewritten one play and adapted one movie, has been a successful stage manager, is writing two original plays in his spare time, and is figuring on becoming a screen director. And if worst comes to worst, he can always go back to selling pianos. As to origin, Mr. Calleia is Maltese. He was born on the Island of Malta, where his father was, and still is, an architect. His ancestry was Spanish, Italian, German and English, with Latin characteristics dominant in the actor. Besides being Maltese, Mr. Calleia was a black sheep. His three brothers fulfilled conventional destinies as a priest, a college professor and an electrical engineer. Joseph just monkeyed around at play-acting. His father so strenously objected to the idea that, when the boy left home to go on the stage, he used his mother’s name, becoming Joseph Spurin. Eight years later, established as an actor in England, he was visited by the formerly outraged father and begged to reassume his right name. Asa compromise, he became Joseph Spurin-Calleia, and was thus known on Broadway. The “Sparin’’ was dropped when he ventured to Hollywood, for purposes of simplification. While knocking on wood. Mr. Calleia will say that he never has been in a flop show. But there were plenty of times when he was out of a job altogether. Those were the intervals when he worked in a car barn, fired furnaces, and sold pianos. The latter job was selected by shutting his eyes and stabbing a pencil into the help-wanted ads of a newspaper. It was house-to-house canvassing, but Mr. Calleia did very well, making two or three sales a week and a tidy commission. His boss was astonished and deeply grieved when Mr. Calleia resigned and explained that piano peddling was not his life’s great mission. He had a role in anew show. The agency manager went to see the show, then wrote a little note. It said, “Dear Joe: I will not say you are a bad actor, but you sure are a born piano salesman. We will

Doors open 19:43 M. Stage Shows ' Seats im c larngj Ml B means:" For utmost enjoyment this pic- V \ ture should be seen from the / SS. beginning! It starts at /Z SS&s. 11:39, 2:05, 4:40, SSSgV 7:15 and 9:55

WHERE, WHAT, WHEN APOLLO ’’Professional Soldier” with Victor McLaglen and Freddie Bartholomew, at 11:38, 1:34. 3:30. 5:3.*, 7:40 and 9:36. CIRCLE “The Magnificent Obsession” (carried over from Indiana for second week!, with Irene Dunne and Robbert Tavlor. at 11:30. 2:05. 4:40. 7:15 and 9:55. CIVIC “Kind Lady” with Clifford Courtney, Horace Hill in. Marcella Parry und Cecilia Vor-/**ut, at 3:30. INDIANA Earl Carroll’s “Vanities.” on stage at 12:40. 3:3b. 6:35 and 9:20. On the screen. “Her Master’s Voice.” with Edward Everett Horton, at 11:20, 2, 5:10, 7:50 and 10:35. LOEWS “April Blossoms.” world premiere, with Richard Tauber. Jane Baxter, at 11:15. 1:55. 4:?,5. 7:15. and 3. Also. “The Lone Wolf Returns.” with Melvyn Douglas. Gail Patrick and Raymond Walburn, at 12:45, 3:26, 6:07 and 8:48. LYRIC Major Bowes’ Amateurs’! on stage at 1:04. 3:58 6:52 and 9:37. On screen. “Freshman Love” with Frank McHugh and Patricia Ellis, at 11:40, 2:34, 5:28. 8:13 and 10:37. OHIO “Smart Girl” at 10:30. 1:10. 3:50. 6:30 and 9:10. Also “Thunder Mountain” at 11:52, 2:32, 5:12, 7:52 and 10:23.

have a job for you when you want to come back.” But Mr. Calleia went right on, to become one of the major menaces of the stage. “Front Page,” “The Last Mile,” "Grand Hotel” and “Ten-Minute Alibi’ were vehicles that sped him along to stardom in “Small Miracle” and a Hollywood contract with M-G-M. He now is gangstering in a picture to be called “Exclusive Story.” He’s a handsome fellow, in a dark and somewhat sinister way. Full of enthusiasms, and miserable in idleness. His few close friends here are mostly people of the Broadway stage, to which Mr. Calleia devoutly hopes to return, if only for a single play. He married a non-professional. She had been engaged to another man and was miserable because her parents disapproved the match. Mr. Calleia, in turn, had been gently jilted by a leading lady several years his senior and was heart-broken. So they consoled each other and fell in love. Actinic Ray Used to Start Film Camera Times Special HOLLYWOOD. Jan. 18. Mary Pickford started the cameras grinding on the initial Pickford-Lasky production, “One Rainy Afternoon,” by focusing an ultra-violet ray on a photo-electric ceil. This is the first time in cinema history that the actinic ray, which makes photography possible, has been used to provide the impulse to set off the cameras.

WEST SIDE r> -T- A 7* r- 2702 W. 10th St. j I /\ I r Double Feature 1 7 X 1 Guy Kibbee “GOING HIGHBROW” “HARD HOMBRE” Sun. Double Feature —Diek Powell “THANKS A MILLION” “FLORENTINE DAGGER” r) I , W. Wash. & Belmont Delmont ?“ übla Feature Preston loster “The Last Days of Pompeii” “THE IVORY HANDLED GUN” Sun. Double Feature—the Marx Bros. “A NIGHT AT THE OPERA” “STARS OVER BROADWAY” r\ a i c\/ 2340 w - MU>h-st-\Jf\ I j I Double Feature Kalph Forbes “STREAMLINE EXPRESS” “RIDERS OF THE LAW” Sun. Dhle. Feature —Margaret Sullavan “SO RED THE ROSE” “THE PAY-OFF” ' NORTH SIDE 0 ITT Illinois at 34th K | I / Double Feature Paulino I.orrt “FEATHER IN HER HAT" “EVERY NIGHT AT EIGHT” Sunday—Marx Bros. “A NIGHT AT THE OPERA” News—Cartoon—Comedy II . 42nd & College l J ntnWn Double Feature W t TV l l Chester Morris “COCK OF THE AIR” “THREE KIDS AND A QUEEN” Sun. Double Feature—Dick Powell % “THANKS A MILLION” “Major Bowes’ Amateur Theater of the Air” /’"* • I 30th and Illinois rriTK Double Feature >OVJI In Jack Holt “STORM OVER THE ANDES” “BREWSTER’S MILLIONS” Sun. Double Feature —Joan Crawford “I LIVE MY LIFE” “DR. SOCRATES” r* , I • St. Clair * Ft. Wayne bt. Clair sss™ “PURSUIT” Cartoon—Travel Talk Sun. Double Feature—Zasu Pitts “THE AFFAIRS OF SUSAN” “RENDEZVOUS” r\ IT\/ 30tIt at Xorthw’t’n. (\r/\ Double Feature Frances Dee “GAY DECEPTION” “RIP ROARING RILEY” Sun. Double Feature—Janet Gaynor “FARMER TAKES A WIFE” “REDHEADS ON PARADE” Talbot & 22nd | n DOtt Double Feature Edward Arnold “REMEMBER LAST NIGHT” “HIS NIGHT OUT” Sun. Double Feature—Dirk Powell “SHIPMATES FOREVER” “RENDEZVOUS” Stratford Hr “BROADWAY MELODY OF 1936” “THE LAST OUTPOST” Sun. Double Feature—Loretta Young “SHANGHAI” "MURDER MAN” MECCA % Walter Connolly “FATHER BROWN, DETECTIVE” “THE LOCAL BAD MAN” Sun. Double Feature—Edward Arnold “DIAMOND JIM” “HERE COMES THE BAND” nnc A A A Station St. DKtAM nb * feature Warner Oland “CHARLEY CHAN IN SHANGHAI” “PERSONAL MAID’S SECRET” Snn. Clark Gable-Charles Laughton “MUTINY ON THE BOUNTY” Comedy—News—Short Reels EAST SIDE Hl\ /r\ I I Dearborn at 10th K VUL Do-.ole Feature ▼ WU.I Gary Cooper "PETER IBBETSON” “Escape From Devil’s Island” Sn. DMe. Feature—Margaret Sullavan “SO RED THE ROSE” “STARS OVER BROADWAY”

.JAN. 18, 1953

Cantor Film Coming Here Next Friday Parkyakarkus Is to Appear With Star in Show, at Loew’s. Eddie Cantor and his general stooge and heckler. Parkyakarkus, are coming to Loew’s Friday in Eddie’s new musical, “Strike Me Pink.” The picture marks the screen debut of Mr. Cantor’s Greek dialect radip partner, and includes Sally Eilers, Ethel Merman and 200 chorus girl3 in the supporting cast. Based on a magazine story by Clarence Buddington Kclland, "Strike Me Pink” is said to have more story interest than many of the star's former musicals. ,It tells of z timid tailor who loves a night club entertainer, takes a course in personal magnetism to overcome his timidity, and winds up as the owner of a huge amusement park. Eddie was of the opinion, during the filming of the new picture, that being funny was a 24-hour a day job, as well as a serious business. Wrote Part of Script Besides being the star, he wrote much of the script and inserted most of the laughs. He worked with the principals on their characterizations. He discussed directorial problems and aided in selection of chorus beauties. Meanwhile, he had to find time, on the set and late at night, to work on his weekly radio script. There were funny lines to find for Parkyakarkus, musical numbers to be selected and rehearsals with the radio cast and orchestra several times each week. After Sunday’s dress rehearsal and two performances, Cantor was free to go home —and start worrying over the next day’s “shooting” or the coming radio program. Or he could catch up on his job as head of a radio consultant bureau, try to fulfill his book and magazine contracts or play a couple of benefit performances. You can't blame Eddie for remarking one day when things were particularly thick, that “Edison was right. Four hours sleep a night is plenty. The only difference is that he wasn’t tired—and I am.”

EAST SIDE T I 4020 F.. w York MYAfIA Double Feature I UACUW Edmund Lowe “King: Solomon of Broadway” “FRECKLES” Sun. Charles Laughton-Clark Gable “MUNTINY ON THE BOUNTY” Selected Short Reels -r* 2442 E. W’ash. Si. | nrniTin Double Feature I U'-UI I ItJ Burns & Allen “HERE COMES COOKIE” “REMEMBER LAST NIGHT” Sun. Double Feature—Joan Crawford “I LIVE MY LIFE” “HIS NIGHT OUT” in\/lkir 5307 r Wash. St. IKV I INvJ Double Feature Barbara Stanwyck “RED SALUTE” “THREE KIDS AND A QUEEN” Sun. Charleg Laughton-Clark Gable “MUTINY ON THE BOUNTY” Selected Short Features [~ 4630 E. 10th St.~ tmerson ® oub, % Feature Carole Lombard “HANDS ACROSS THE TABLE” “RED SALUTE” Sun. Double Feature—Marx Bros. “A NIGHT AT THE OPERA” “IN PERSON” | | . | , 2116 E. 10th Sf. norm ton ,>oub,a i iui iiiil Wi l >ino Martini “HERE’S TO ROMANCE” “Charlie Chan in Shanghai” Sun. Double Feature—Marx Bros. “A NIGHT AT THE OPERA” “ANNIE OAKLEY” [-) I 2036 E. 10th St. KQ !” KP f* Double Feature Dolores Del Rio “I LIVE FOR LOVE” “CHEERS OF THE CROWD” Sun. Double Feature—H illlam Powell “RENDEZVOUS” “CAPPY RICKS RETURN” t ■ j 1325 K. Wash. St, S T l*n n n Double Feature l I U I IU Burns A Allen “HERE COMES COOKIE” “CHERCHEZ LA FEMME” Sun. Double Feature—Charles Laughton “MUTINY ON THE BOUNTY” “Major Bowes’ Amateur Theater of the Air” haw 2721 K " a,h - K tj X Y Double Feature 1 ' v x 1 Spencer Tracy “SKY DEVILS” “DAWN RIDER” Snn. Double Feature—Will Rogers “Steamboat Round the Bend” “POWDER SMOKE RANGE” . 411 K. Wash. rQ ra mount i >" ~bi” Featnr * I VJ 1 Ul I IWUI i l r i„ rence Kiee “GUARD THAT GIRL’’ “GUNNERS AND GUNS” Sun. Double Feature—Jack Oakla “The Big Broadcast of 1936” “WE RE IN THE MONEY” SOUTH SIDE ~ 1 Fountain Square Double Feature Robert Young “RED SALUTE” “STORMY” Snn. Double Feature —Jack Oakie “The Big Broadcast of 1036” “BARBARY COAST” l At Fountain Square banders Donb,e Feature J Pat C Brien “Oil For the Lamps of China 1 * “OUTLAWED GUNS” Sun. Dble. Feature—Jeanette McDonald “NAUGHTY MARIETTA” “WE RE IN THE MONEY” A I Prospect-Churchm’n /\VQ lOn Double Feature Tom Brown “ANNAPOLIS FAREWELL” “SIX GUN JUSTICE” Snn. Pouhle Feature—Edward Arnold “DIAMOND JIM” “HERE COMES THE BAND” _ - 1105 S. Meridian St, Oriental “GUARD THAT GIRL” “HI GAUCHO” Snn. Double Feature—Wallace Beery “O’SHAUGHNESSY’S BOY” “THE RAINMAKERS” r . jl 22<fe Shelby St. LjOrtlG □ Double Feature I I ICI VJ PanJ Muni “DR. SOCRATES” “TWO FISTED” Snn. Double Feature—William Powell “RENDEZVOUS” “HEBE COMES COOKIE”