Indianapolis Times, Volume 48, Number 4, Indianapolis, Marion County, 16 March 1936 — Page 4

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Frances Benner to Make Opera Debut March 20 in Cincinnati Presentation Former Local Music Student to Play Magdalena in Wagner’s ‘Die Meistersinger’ to Be Staged by the Symphony Orchestra. Franco.’ Benner confesses being in quite a “state” over her forthcoming opera debut in Cincinnati on March 20, but is enjoying rehearsals immensely in spite of it. Well known here ss a former pupil of Glenn Friermood and a student of Bomar Cramer in piano, Miss Benner has been selected for the role of Magdalena in the two-night presentation of Wagner's “Die Meistersinger” by the Cincinnati Symphony Orchestra.

“I know you’re going to enjoy it," she wrote in a letter received today. “In the first place, it's the only opera in a lighter vein that Wagner ever wrote—and he certain did himself proud! It has, at the same time, some of the most wonderful music ever written. "In the second place I think I can assure you that it is to be admirably sung. I promise nothing for myself, but I feci I can promise a great deal for the others. The opera Is to serve as a fitting climax to the season.” Shows Considerable Promise Evidently Miss Benner has shown considerable promise in spite of her modesty. Still a student in her second year at the Cincinnati College of Music, she was chosen for one of the two feminine parts. Although she had a small part as one of the Valkyries in “Die Walkucre,” which opened the orchestra’s Wagner series in November, this is to be her real “first appearance” as a soloist. Her present teacher, Robert Korst, was well known in Europe as an opera producer, singer and teacher before coming to America. At one time he was chief assistant to Max Reinhardt. He also has presented music dramas independently. Os her role as Magdalena, nurse and companion to the opera's heroine, Eva, Miss Benner writes that she is “such a pithy character, so amusing and colorful, that it is a

Movie Stars Are Experiencing Busiest Schedules Since 1930 Gary Cooper, With Nine Pictures on List for Year, Already Has Completed Four for Producers. Time* Pfircial HOLLYWOOD, March 16.—Movie stars have had little time for rest and play this winter. So far, they have experienced the busiest firstquarter production schedule since 1930, with the activity divided among the major studios.

Gary Cooper has nine pictures on this year's schedule and has completed four. He now is busy on the script of ‘‘The Texas Rangers,” while the others are being put into shape for him to read. Bing Crosby is ready to start "Rhythm on the Range,” and when this is finished, four more are awaiting him. Marlene Dietrich has started her second of this year, “I Loved a Soldier,” after completing "Desire,” with Gary Cooper. • Claudette Colbert has work awaiting her at two studios. Mary Boland is returning from the New York stage to make four pictures, including "Where Am I?” and "The Imperfect Husband.” Burns and Allen have started "Turn Off the Moon.” W. C. Fields

'A Message to Garcia' Director Makes Movie Thoroughly Cuban Francis de Valdes Imports Clothes, Bread, Tobacco, Tools and Canned Goods for Production. Time* Special HOLLYWOOD. March 16— Francis de Valdes, technical director of “A Message to Garcia,” left no stone unturned in making the picture thoroughly Cuban. The clothes, bread, tools and weapons all had their

origins in that country. De Valdes is an authority on both Cuba and movies, being born there, and was a film director in Havana before coming to HollywoodWhen the costumes were being made, he was determined that everything should be just right. He made the studio force wait until "guayaberas,” Cuban shirts, had been imported, and then had them copied. Imported Tobacco Leaves He also imported bunches of tobacco leaves to hang in front of native huts, as if drying. "The Cuban leaf is longer than the American,” he explained, “and any one who knows the difference would notice the discrepancy.” A quantity of "casabe,” a bread eaten by natives when Columbus discovered the West Indies, also was imported along with 150 machetes, favorite tool and weapon of the Cuban farmer. From Spain came uniforms of the Spanisli-Amcrican War period, together with a quantity of canned goods of the brands being exported to Cuba at that time. Wallace Beery, John Boles and Barbara Stanwyck star in the picture. Pianist to Play at Quest Club Meeting Mrs. Thomas P. Woodson, pianist, is to present a program at the Tuesday Quest Club meeting tomorrow at the home of Mrs. T. H Beecher, 406 E. 51st-st. She is to play the following numbers : "Nocturne" Chopin '"Trots Ec, osaises" Chopin "Ballade" Debussy "Bruyeres" Debussy "Zapateado" Turina Pantomime ("El Amor Brujo"). De Falla "Malaguena" Lecuona ARTILLERY DRILL SET City Fliers to Take Part in Radio Adjustment Tests. Lieuts. W. E. Maschmeyer and Sidney Stout. Il3th Observation Squadron. Indiana National Guard, are to take part in a co-operative radio artillery adjustment drill with the mechanized 68th field artillery Thursday at Fort Knox. Ky. Their planes are to be in contact with a ground station to make adjustment* in the artillery's fire. Requests for their services were issued by Capt. R. W. Hasbrouck. They will fly to Fort Knox Wednesday. *

joy to be her!” The nurse is the one who aids Eva in her secret love of Walther von Stolzing and instructs her “boy friend,” the apprentice David, to assist the hero in his preparation for the Mastersingers’ song contest, the climax of the story. Cause of Famous ‘Fight Scene* It is Magdalena, too, who Is the innocent cause of the famous “fight scene” at the end of Act 11. In Eva’s dress, she sits at a.window to receive a serenade by Bcckmesser, the town clerk and Eva’s venerable suitor, while her mistress steals out to see Walther. But David recognizes his beloved during the serenade and, innocent of the ruse, starts beating the official. Others join in and a battle royal ensues. The opera, which is to be sung in English, calls for a large chorus of apprentices, Mastersingers and townspeople of 16th Century Nuremberg, scene of the story. A great deal of work has been done on this part of the performance, Miss Benner says. Os the first “fight scene” rehearsal, the local singer remarked that "if the audience gets just half as excited and enjoys it half as much as we do, I’m sure it will be satisfied.” Miss Benner is the daughter of Mr. and Mrs. B. B. Benner of Indianapolis and Mays, Ind.

has three on his schedule, and Frank Forest, Amcrican-born tenor who has been in Europe for 10 years, has three to make. The first, “The Count of Luxembourg,” is to be started soon. “Border Flight” was put into production immediately after Gary Grant's arrival from England. Carole Lombard recently began the first of a series of five films she is to make for one company. Fred Mac Murray’s schedule is just one picture after another. He already has completed four this year, including “The Trail of the Lonesome Pine.” Jack Oakie, Charlie Rugglcs, Randolph Scott, Sir Guy Standing. Kent Taylor all have programs which should keep them busy most of this year.

Crosby Is Asked to Sing With Symphony Times Spaial HOLLYWOOD, March 16.—Bing Crosby recently received an invitation from Leopold Stokowski, famous conductor, to appear as guest artist with the Philadelphia Symphony orchestra in a series of concerts next summer. Bing, flattered, answered that he did not think his voice was up to symphony concert standards, Stokowski is pressing the invitation, however, pointing out that Percy Grainger, well-known musician, had used Bing's records to illustrate lectures on the increasing use of gliding tones in American music. Church Dramatists to Give Play Friday "Attorney for the Defense,” the play made famous by John Barrymore, is to be presented by young persons of Tabernacle Presbyterian Church in the recreation hall Friday night. It is a four-act recount of a young lawyer's struggles to uphold his family tradition at the expense of losing the girl he loves. In the Tabernacle cast are Jane Deranian, Edith Mae Caster, Ellen Sprague, Miriam Martin, Jack Millar. Dean Farnum, Art Caster. Bert Johnson, Bud Cleveland and Charles Lockwood. Ryan B. Hall is directing the production, open to the public.

M 1101 f* LJ A | I Friday, March 20 Ivl UOI Vm* lIM La Lb Saturday, March 21 Cincinnati Promptly at 8 Cincinnati Symphony Orchestra presents Richard Wagner's Immortal Comic Opera MEISTERSINGER i1 he Mastersintrers)—in English With FREDERICK JAGEL—ARTHUR FEAR—INEZ GORMAN EUGENE LOWENTHAL—SpIendid Supporting Cast, Chorus of 100—SYMPHONY ORCHESTRA of 100 EUGENE GOOSSENS, Conducting TICKETS AV AI I.AHI.K AT *!„■>, *2. **.so, $3 (tax free). Send mail order* wit' self-addressed, stamped envelope to Jamea J. Fsrain, Ticket Manager, HI K. Fourth St., Cincinnati, O.

GARBO THE MYSTERIOUS ♦ E .f,

CHAPTER V. SHADOWS DARKEN GRETA'S LIFE. AS the train in which they were travelling steamed out of Prague en route for Berlin, Greta and Einar Nerman went to the restaurant car. They had scarcely seated themselves when a man sitting fit the opposite side of the car - riage became alert and stared at them intently. Greta, always was self-conscious when any one's eyes are fastened upon her, became so nervous that she changed places with Einar to avoid this impertinent attention. When' the stranger noticed that he had caused her discomfort, he, too, moved away. But that, was hot the end of the incident. In Berlin, the famous Ufa producer, G. W. Pabst, had recently been commissioned by a FrancoGerman concern, the Sofar Cos., to make a film. It was to be called “Street of Sorrow,” and W'as based on a novel by Hugo Bethauer, an Austrian writer. The novel had created something of a sensation. It revealed with ruthless candor the decline cf a girl of good family through the poverty and wretchedness consequent upon the war. Pabst had everything in readiness. Only one important role remained to be filled—that of the young girl around whose sordid adventures the story revolved. And this one deficiency was holding everything up. tt tt tt r I~'HE part was an exacting one. It A called for an actress with all the freshness and charm of youth, but with a maturity cf feeling and technique that comes only with experience. He had seen only one girl he believed to possess these essential qualifications. She had played the part of Countess Dohna in “Gosta Berling.” Pabst knew nothing whatever about the girl. He believed her to be an Italian and had no idea where she was to be found. He had tried in vain to get her address. The Sofar directors grew impatient. Why all this delay? Surely there were other actresses! But Pabst remained firm. Even though he ran the risk of losing his contract. he refused to start “Street of Sonow” until he had found the ideal girl for his heroine. Kis hope was rewarded. The stranger on the train had recognized the mysterious “Countess Dohna.” As soon as he arrived in Berlin, he informed a friend and tidings at last got through to Pabst that Greta was back in Berlin. It was already midnight when Pabst received the message—too late to do anything. Still, Pabst, in his excitement, rang up his assistant Sorkin and gave him minute instructions to start on the search for Greta at the earliest possible moment in the morning. Then for the rest of the night he paced up and down his room. tt tt tt AS no one seemed to know where Greta might be staying, it was necessary to telephone all the principal hotels in Berlin. They eventually located her at her old headquarters, the Esplanade—and Stiller did the talking. When Stiller met his two young proteges on their return from Constantinople. he looked utterly crushed and dejected. They drove to the hotel in silence. His one thought was of Greta. She had trusted him, and he had let her down! He must make her famous, and thus wipe out the memory of the Constantinople fiasco. Towards evening Sorkin succeeded in getting a word with stiller, and an appointment between him and Pabst was arranged. “If Miss Garbo is at liberty, I should like her for the part of Greta Rumford in ‘Street of Sorrow,’ ” was Pabst's opening remark. Stiller, however, had become cautious. It was a case of “once bit, twice shy.” First he demanded to see the scenario. Then he asked a great many questions as to the Sofar Company's credentials. Satisfied on these points, he proceeded to speak of Greta’s salary. She must be paid in dollars, he said. Pabst agreed to this. “Yes, Miss Garbo is at liberty just now, and you can have her, if you dare to take the risk. But I must warn you that you are tackling a stiff proposition. Beautiful pictures can be made of Greta Garbo if you know how to make pictures; but she can not act.” tt u u PABST was struck with admiration for this long, lean man. The more Pabst held out in his desire to secure Greta's services, the more vividly Stiller painted the difficulties involved. Then they went on to

WHERE, WHAT, WHEN APOLLO "The Country Doctor.” starring the Dionne quintuplets, with Jean Hersholt and Dorothy Peterson, at 11:12. 1:18. 3:25. 5:31. 7:58. 9:45. CIRCLE "Follow the Fleet.” with Ginger Rogers and Fred Astaire, at 11, 1:10, 3:20. 5:25. 7:35. 9:50. INDIANA "Desire." with Marlene Dietrich and Gary Cooper, at 12:41. 3:47, 6:53. 9:59. "Love On a Bet,” with Gene Raymond and Wendv Barrie, at 11:24. 2:30. 5:36. 8:42. KEITHS "The Hoosier Schoolmaster." presented by Federal Players under the direction of Charles Berkell. This adaptation of the Eggleston novel by Dr. Lee R. Norvelle. LOEWS "Wife Versus Secretary," with Clark Gable. Jean Harlow and Myrna Lov. at 11:30. 1:35. 3:40. 5:48. 7:54'. 10. LYRIC Ben Lyon and Bebe Daniels on stage with vaudeville, at 1. 3:53. 6 46 and 9:30. Don't Get Personal" with jimmy Dunn and Sally Eiters. on screen, at 11:41. 2:34. 5:27, 8:20 and 10:43. OHIO "Special Agent.” with Bette Davis and George Brent, at 11:04, 1:59, 4.54. 7:49. 10 10. Bar-20 Rides Again." with William Boyd, at 12:22, 3:17, f:l2, 9:07.

THE INDIANAPOLIS TIMES

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Lars Hansen and Greta Garbo in a scene from a motion picture made early in her career in Germany. For her it was a distinction then to play in a production with Hanson. She was later to give him opportunity in America, after she had scored her triumph here, to appear in a principal part with her in “Flesh and the Devil.”

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Karin Mollander, (above) the wife of Carl Brisson, was ever sympathetic toward Greta Garbo in her aspirations to rise on the screen. Stiller, the director, was too forbidding to make a suggestion to. But Miss Garbo could whisper confidingly into Miss Hollander’s ear her hopes of reaching Hollywood—and hope at the same time that Stiller might hear of her yearnings.

discuss the actual terms. Stiller asked boldly for S4OOO on Miss Garbo’s behalf. Pabst agreed without demur. Stiller succeeded in carrying one more important point. Greta’s expenses in Germany were to be borne by the company while the film was being made. At last all was settled. Pabst had already taken up his pen to sign the contract when Stiller suddenly leaned forward. "Oh, I had almost forgotten; there is one more condition," he said. "If you want Greta Garbo, you must also take Einar Hanssoil She will not play without him.” By this time Pabst's admiration for Stiller’s business capacity had reached such a pitch that he laid down his pen and indulged in a hearty laugh. But there was nothing for it; Pabst had to submit. The contracts were signed and delivered. Stiller had vindicated himself—in relation to his artists, at least. Now work was to begin in earnest. All that Pabst had seen of Greta since her return made him more convinced that he could do wonderful things with her. # WHEN the fateful morning arrived, Greta came to the studio accompanied by Stiller. She found among her fellow players such famous stars as Werner Kruass and Asta Nilson. Among these celebrities she felt suddenly like a little giyl again. The color left her cheeks and her knees trembled. She said not a word. In her plain little dress, wearing scarcely any makeup, she looked sweetly pathetic. Stiller, meanwhile, had drawn the photographer, Guido Seber, to one side, and was doing his best to explain some of the difficulties the camera would have to contend with in handling Greta. Like Pabst, however, Seber was inclined to put Stiller's attitude down to over-anxiety for the success of his protege—a success which none of them dou jted for one moment she would achieve. The first tests were made, the film rushed to the developing room. A pause ensued. Pabst and Seber looked rather sober. They realized that they had, after all, underestimated the cifficulties involved. Greta was so nervous that an involuntary twitching distorted her face the moment she got in front of the camera. Os the 300 feet of film that had been taken, 290 were impossible. No matter. They would try again. But it was no use. Test after test yielded no better results. Stiller was not allowed to see the "rushes ’; they would not give him the satisfaction of seeing the failure which he had undoubtedly THVRS., MAR 18 MATINEE BAT. AMERICA’S PRIZE-WINNING COMEDY 11 MONTHS IX CHICAGO Eve*. SAe to *2.20. Rat. Mat. SSr t *1.9 I act. Tax. gcata Now on Ba tm ■ " 1 "

prophesied. Greta, too, was kept in the dark, but she was quick enough to sense the true state of affairs, and it made her utterly miserable. The time approached when bluff would no longer tide over the difficulty. Pabst was faced with a sad alternative. Either he would have to find another actress for the part or abandon the film. nun THEN a curious thing happened. There was a sequence in the film where a book had to be shown falling off a desk. Those were the days when film cameras were still hand-turned. It was found that the book fell so quickly that a camera turned at ordinary speed failed to register the motion of falling. Instructions were therefore given that the camera must be turned much faster, and that did the trick. This gave one of the technicians an idea. Why not try the same maneuver on Greta? It solved the problem! By handling the camera in this way Seber contrived to cut out all the nervous tremors that had hitherto distorted Greta's beautiful face. Pabst was overjoyed to see the first really good picture of his young star. For the first time, Greta was permitted to see the “rushes,” too. The encouragement she received from this turn of events produced a visible effect at once. Her whole conduct changed; she became calmer, more sure of herself. Greta, though tall and womanly, was not yet quite grown up. A child in spirit, a woman in emotion. Already shadows were beginning to darken her life—the deeper shadows of human suffering. A rift had occurred between her and Stiller. Exactly what happened, no one ever knew. Perhaps Greta expected too much, and found only an interest in her work as an artist where she had expected homage to herself as a woman. Be that as it may, Greta began to throw herself into her work with renewed* vigor, more, it seemed, as an escape from her thoughts than as a demonstration of her skill. The poverty she saw in the streets of Berlin during that hard winter of 1925, when snow lay so late, and even nature seemed in league with the economic depression, touched her deeply. u tt tt IT was at this time that she first began to develop those fits of restlessness which so often resulted in sleepless nights. She turned completely from her old desire to be alone. It seemed now that loneliness was unendurable to her. When Stiller no longer went about with her, she could not bear her own company. Often Sorkin's telephone would rouse him in the middle of the night, and Greta's voice would come urgently across the wires: "I can not sleep! Put on your things. You must come out with me, or I shall go mad. I will call for you in 10 minutes.” There was no denying her. She had her own way. In the spring Stiller planned to return to Sweden. He chafed under inactivity. His virile masculine mind disdained to bend itself beneath the yoke of domesticity. It is doubtful whether any woman ever occupied a ruling position in his life. Elated with the knowledge that he had produced a picture that would set the world talking about him, he spoke, in his grandiose way, of going to Hollywood. Greta would

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drink in these rhapsodies, entranced, but she was too shy to discuss her own hopes with The Master. Instead, she spoke often on the subject with Lars Hanson and Karin Mollander. She even declared her determination to go to America at her own risk, if Stiller did not take her. Constantinople, however, had left a lasting scar on Stiller's soul. It was, in these latter days at Berlin, almost as if he had left a little of his former verve behind in the Balkans. Hollywood had passed completely from his thoughts for the time being. He spoke only of going back to Sweden. Having” secured advantageous engagements for his two unfortunate companions, and assured himself that Greta was o the way toward overcoming her inherent difficulties, he saw no reason to stay in Berlin. tt tt tt MEANWHILE, a sensational thing happened. “Street of Sorrow” was now proceeding so smoothly, and the young Swedish star showed such promise, that Pabst, in high spirits, wrote to Hugo Bethauer, the author, asking him to come to Berlin to chscuss the writing of further film scenarios. Had he agreed, the whole trend of Greta's career might have been altered; but he wrote back saying that his journalistic duties kept him tied to Vienna. A few days later the newspapers came out with startling headlines. “Mysterious Murder. Journalist Shot at His Desk.” Hugo Bethauer was the victim. A madman had shot the writer in cold blood. Unfortunate as the tragedy was, the film company saw in it a firstrate chance of publicity. “Street of Sorrow” had become a film of topical interest. Orders were given that it should be rushed to completion as quickly as possible, while the Bethauer murder was still “in the news.’ There was no keener member in the company than Greta. She seemed to have a perfect passion for work. She was not often seen with Stiller now. The time for Stiller's return to Stockholm was approaching. Then quite suddenly, it was no longer necessary to continue the search. Work came to him. Louis B. Mayer, the great film magnate, was in Europe looking for fresh talent. He had plenty of competent players; but there was a dearth of producers with original ideas in Hollywood. tCops'right,. 1936, by United Feature Syndicate, Inc.) Tomorrow:. Discouragement, in America.

Leslie Howard to Write Book Actor Intends to Produce Autobiography. Tima i Special HOLLYWOOD. March 16. —The latest Hollywood star to turn author is Leslie Howard, who is planning to write an autobiography. Writing, however, is nothing new for Howard. He already has one successful play and several magazine stories to his credit. Writing always has interested the English player more than acting, he explains. “The only reason I went Into the theater was to escape being in business and to be near the theater for which I intended, and still intend, some day to write.” After completion of “Rornco and Juliet,” Howard is to play “Hamlet” on the New York stage. Then all his attention is to be given' to his book. Mae West Had No Answer This Time Times Special HOLLYWOOD, March 16.—1 t took a little autograph hunter really to “stop” Mae West as she alighted in front of the studio gate recently. The youngster was accompanied by his little brother, apparently about 2. who was howling lustily. “What’s the little fellow crying about?” asked Mae. “How do I know, lady?” came the quick reply. “He cant’ talk.”

Shown at 12:40, 3:45, mjX ll^ElaUSi 6:53 and 10 P ' M ' *" mM i: ; : :JT shown aL ji.^" 1 '" iBSI 111 i! I,jJ SS LAST 4 DAYST*! rib ASTAIRE 11 = oiHUR ROGERS / : BERLIN S ag>. V iN KEITH’S HHL 1,1. 9000 FEDERAL PLAYERS in "THE HOOSIER SCHOOLMASTER” Nights: IS*. 2S*. 40* Sat. Hat.: 10*. ;oe, SO* Neat Week laua.jEjQirLE S uslkuuh”

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The celebrated Scandinavian actress, Asta Nilson, as she appeared on the stage as Hamlet. Miss Nilson was one of the noted cast gathered together by G. W. Pabst for his ambitious picture play of “Street of Sorrow.” Greta Garbo, virtually unknown at the time, completed the group of players—and scored the outstanding triumph in the film.

Variety Books Film Preview Club to Give Charity Show at Lyric Saturday. “Kind Lady,” the picture starring Aline MacMahon, has been booked for the Variety Club's midnight charity show at the Lyric Saturday, according to the club entertainment committee. The show also is to include 10 acts of vaudeville. It is sponsored to raise funds for paying the balance due on talking picture equipment recently installed by the club in the Indianapolis Orphans Home. The film tells the story of Mary Herries, wealthy recluse who unwittingly befriends a crook. Basil Rathbone, Mary Carlisle, Dudley Digges and Frank Albertson are in the cast. The play was written by Edward Chodorov from the novel by Hugh Walpole. The picture is to be provided the club without charge by the Indiana Metro - Goldwyn - Mayer branch. This showing is to be a preview of the film in the Indianapolis territory. “Kind Lady” is to return to a downtown theater for regular appearance later.

LYRIC 1 4 Last Days! On Stage BEBE DANIELS and BEN LYON Famous Film Mars IN PERSON I PROF. LAMBERTI 1 XylophoneComedF Mar I Many Otl.er Big Acts L r/ DUNN sauv EILERS\ r? 0 J

S^WIATIONS

WEST SIDE Sm tmp rm W. 10th St. I A I K Double Feature A iA x Ronald Colman “A TALE OF TWO CITIES” “PERSONAL MAID’S SECRET" IPI if/\\|tp W. Wash. & Belmont BLLMONI noub,e Fejt “ ,( A Melvin Douglas “LONE WOLF RETCRNB" ‘PROFESSIONAL SOLDIER” D. . 0 254(1 W. Midi. St. " j A I S Y Double Feature XA 1 LJ A J. rrol “CAPTAIN BLOOD” “TOO TOt’GH TO KILL" NORTH SIDE R m . Illinois at 34th 11/ Double Feature * ■*■ *-* Eddie Cantor “STRIKE ME PINK” “CASE OF THE MISSING MAN” ] Uptown SSi? re 0 .*?: Warner Baxter “KING OF BURLESQUE” "LAST WILDERNESS” . pi n i/ar/ 3(ltb and Illinois ItAKKI(.iK Double Feature uanivivjiv Caro , Lombard “HANDS ACROSS THE TABLE” “STARS OVER ___ nm A TW> St. Clair & Ft. Wayne Si (jLAIR Double Feature • Lil/lillV Ronald Colman ' “A TALE OF TWO CITIE” “SHOW THEM NO MERCY” nrrv 30th at Northw’t’n. KFI Double Feature Ronald Colman “A TALE OF TWO CITIES” "YOCR UNCLE DUDLEY” TA I D/\'T l 'T* Talbot Se 22nd 1 ALdU 1 1 J>ouble Feature Rochelle Hudson “SHOW THEM NO MERCY” “GREAT IMPERSONATION'* Stratford *>“? Fea* u ?: James Dunn “TH* PAY-OFF" “WOMAN WANTED” MECCA ~ s£&*rS&i Mrrna I .or “WHIPSAW" “STARS OVER BROADWAY" DREAM " B ri; '•THE LITTLEST R r EBEL^ mP,e “SWEET SURRENDER” EAST SIDE RIVOLI n^pST Metor McLaglen "PROFESSIONAL SOLDIER” “IF YOU COULD ONLY COOK” TUXEDO Double Feature “MAGNIFICENT OBSESSION” * ’■CORONADO” m A CtAlI A E. Wash. St. TACOMA "unipNin;” ■THREE KIDS AND A QUEEN *

-MARCH 16,1936

Film Ed ition of Hit Play Coming Here •Children’s Hour’ to Appear at Loew’s Friday as ‘These Three.’ The screen adaptation of Broadway's mast talked-of play, “Children's Hour,” is to be the main feature on Loew s bill starting Friday. Joel McCrea, Merle Oberon and NJlriam Hopkins are starred in “These Three.” the title under which the play comes to the screen. The theme, too delicate for film portrayal, has been changed somewhat. It revolves around a whispering campaign started in an exclusive girls’ school by a nasty little brat who doesn't want to do her lessons. Twenty-eight juvenile actresses were used in the filming of the story, two of them playing roles of importance. Bonita Granville, daughter of the veteran stage actor, Bernard Granville, makes her screen debut as the vicious youngster who spreads the lie about her teacher. Marcia Mae Jones, a 10-year-old newcomer, is the girl who is forced to act as an accomplice. Angel Theme Out-Moded “There was a time,” says William Wyler, who directed ‘These Three,’ when school children were represented on the screen as being well-groomed little angels. A marcel wave, a toothy smile and a manicure—that’s what little girls were made of in 1915. The blackest crime permitted a youngster of those screen days was to dip a pigtail in the ink well or to steal a cookie from the pantry. “Fortunately, that idea of children now is out of vogue. In ‘These Three’ the whole thesis of the play is entrusted to a child of 14 whose malicious tongue ruins the lives of three adults. There is nothing accidental about this either—it's as deliberate and basely motivated a lie as any adult might spread.” All Are Not Pretty Mr. Wyler, in casting “These Three,” steered clear of the romantic conception that all school girls are cute and pretty. He chose children with freckles and buck teeth who could look natural holding a text book If, after the picture is released, the public demands that the little school girl with the pink and white virtues and nursery-rhyme manners return to the screen, it is safe to predict that her director will not be Mr. Wyler. “You May Be Next,” Loew's second film starting Friday, tells how a master criminal invents a radio wave neutralizer and with it ruins many of the nation's expensive network broadcasts. He demands a huge sum for ending his interference. I |_ 2 FEATURES FRIDAY “THESE THREE” Miriam Hopkins Merle Oberqp Joel McCrea —Plus—“You May Be Next”

EAST SIDE IRVING “ Oouble^atur^ IIV ' A VJ Wallace Beery “AH WILDERNESS” “DANGEROUS’’ EMERSON "TRANSATLANTIC TUNNEL" “THE MAN WHO BROKE THE BANK AT MONTE CARLO” HAMILTON SjLij Errol Flvnn “CAPTAIN BLOOD” “TWO IN THE DARK” PARKER ISJS.ST ... „ Ronald Colman “A TALE OF TWO CITIES" “BAD BOY” S T RAN D Joe Penner COLLEGIATE” RAW 2721 E.WaVhTstT" W A I Double Feature Alison Skipworth "HITCH HIKE LADY” “FRECKLES” Paramount 411 E. Wash. St. Ton‘-ht Only Two Giant Featum Will Rogers In His Finest and Last Picture “In Old Kentucky” John Howard—Wendie Barrie “Millions In The Air” C-vmedy—“TWO BOOBS IN A BALLOON” SOUTH SIDE ~ FOUNTAIN SQUARE - Double Feature Eddie Cantor "STRIKE ME PINK” • TWO SINNERS” o a XTLtI”n O *t Fountain Square OANDLRS Feature ttti.WLdW Fredrie March “THE DARK ANGEL” "DESERT TRAIL” Aii i .-v i Prospect-Churchman V A L l) Double Feature ' ALVMI p#t OBr|en ■■STARS OVER BROADWAY” “SPEED DEVIL” ORIENTAL * VfAVAA '' A, A A Sylvia Sidney “MARY BURNS. FUGITIVE” “BAR 2t RIDES AGAIN” GARFIELD “SiMS&S " Vx >LiL>iy Claudette Colbert “THE BRIDE COMES HOME” “FRISCO KID”