Indianapolis Times, Volume 48, Number 6, Indianapolis, Marion County, 18 March 1936 — Page 16

PAGE 16

Strauss and Wolf Relive in Program George Newton in Recital Closes His Survey of German Music. BY JAMES THRASHER In a concert of representative songs by Hugo Wolf and Richard Strauss, George Newton last evening completed a comprehensive survey of German lieder, which in five recitals have taken us from Schubert, through Schumann and Brahms, to the present day. A program of Old English songs also was heard in the otherwise Teutonic series, and with another evening ol English songs by Somervell and Griffes on April 21, the singer will have concluded one of the significant contributions to our current musical season. To an enthusiastic audience, and one considerably larger than on previous occasions, Mr. Newton again brought musical interpretations of the highest order, notable for sincerity as well as for vocal competence. This artist never treats us to feats of vocalism per se, but rather leaves his listeners always free to contemplate the songs' musical content. A singing-actor of discernment, he is able to make of his own personality a crystalline substance through which the undistorted image of the composer is visible.

Wolf’s Works Stand Out In giving close attention to the works of Wolf and Strauss heard last night, few could fail to be impressed by the pre-eminence of the former. Mr. Newton chose some of the finest Strauss songs, and they are undeniably great, but the fervent intimacy of the true German lied is less apparent than in the highly artistic utterances of Wolf. Wolf's close study of Schumann's songs and his devotion to Wagner equally stand forth in his works. The piano accompaniments, capitally played last night by Walter Whitworth, are even more acutely descriptive than Schumann's. Few of even the greatest song writers have excelled Wolf in the delineation of mood and character. He remains the logical successor to Brahms in the field of German song, despi f e his antipathy toward that master. Tho artistic disintegration and apparent creative death of the composer Richard Strauss since the beginning of this century is a strange and sorrowful matter. But in the years of his creative endeavor his musical contribution and influence were immense. With his greatest tone poems for orchestra stand also some of his greatest songs. Perhaps in these, as Mr. Newton pointed out in his introductory remarks, are to be found the Strauss who will live.

Ohio to Offer Midnight Films Saturday Feature Is to Be Added March 28. With the showing of “Crooked Circle" March 28. the Ohio is to inaugurate its new policy of Saturday midnight shows, to be held weekly at 11:30 in addition to the regular double feature. Designed for week-enders with “night-owlish" inclinations, the new plan is the first regular midnight movie attraction to be adopted by a local management. It, has been done successfully, however, in larger cities. “Dark Angel," with Merle Oberon, Fredric March and Herbert Marshall, and “Nevada" are announced by Tom Muchmore, manager, for regular showing with the new feature. Grown-Ups Use Skooters Grown-ups' edition of children's skooters are anew fad in the studios. Frances Langford used one daily to dash the quarter-mile from her dressing room to the sound stages when she is working in Walter Wanger's production, “Palm Springs." Wins Paramount Honor Frances Farmer. Paramount featured player, is the only girl in the history of Paramount studio to have the second picture in which she will appear delayed in order that she might enact the leading role. It's “Border Flight." WHERE, WHAT, WHEN APOLLO ' T 11? Country Doctor.” starrlnu the Dionne quintuplets, with Jean n M Dorothy Peterson, at 11:12. 1:18. 3:25. 5:31, 7.58. 9:45. CIRCLE “Follow the Fleet," with Ginger f O i er l:35 nd 7 F 35 ed 9 A 50 alre - 81 1:1 * INDIANA “Desire.” with Marlene Dietrich and Gary Cooper, at 18:41. 3:47. 6:53. “Love On a Bet." with Gene Raymond and Wendv Barrie, at 11 24 2:30. 5:36. 8:42. KEITHS “The Hooster Schoolmaster,” presented by Federal Players under the direction of Charles Berkell. This adaptation of the Eggleston novel by Dr. Lee R. Norvelle. LOEWS "Wile wW Secretary." with Clark Gable. Jean Harlow and Mvrna 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. 646 and 9:30 "Don’t Get Persona!" with Jimmy Dunn and Sally Eiksrs on screen, at 11 <1 2:34. 5:27 820 and 10:43 OHIO “Splendor" with Miriam Hopkins, at 11:37. 4:45, 7:06 and 9:55. "Your Uncle Dudley." with Edward Everett Horton at 10:30, 12:51, 3:38. 5:59 and 8:46. BINGO EAGLES TEMPLE Benefit Social Funds Door Priae Given Thurs. March 19. Adm. 25c 43 VV. Vermont St. PUBLIC INVITED KEITH’S LI. 9000 —**-.:*" FEDERAL PLAYERS la "THE HOOSIER SCHOOLMASTER" Xlgtitot Ise, 28 *, 40c Sat. Mat.; 10c, :oe, Me

GARBO The Mysterious Her ™ 0 U RY E By ELISABETH VON CAUB

Chapter VII GRETA GOES TO BED AS time went on, the studio reperts became more and more encouraging. Those who had been privileges to see the “rushes” spoke in excited whispers, and there was a feeling abroad that something really new had been discovered. The subtle Garbo charm was beginning to work. Monta Bell lost no time in exploiting the rich new find that had been so providentially thrust into his hands. Perhaps the most prophetic sign

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Scenes like this one on the screen—and others rumored off the screen—between Greta Garbo and the late John Gilbert led to the creation of anew phase in the American language, to signify two person's “being that way about each other.” John, was plainly smitten with Greta. But whether his love was returned has always been open to doubt.

of Greta’s altered cricumstances was the fact that Louis Mayer himself—h” who had “not been interested” in Stiller’s unknown protege!—called Greta into his office and said he would like to make anew contract with her. Greta, however, had learned caution from her old master. Sfie said she was satisfied with the contract she had. She wanted to finish her part first, and see how it turned out. So there the matter was allowed to rest. When the quite untrumpeted release of “The Torrent" took place, no further doubt existed that Metro-Goldwyn-Mayer had discovered the most alluring siren Hollywood had seen for many a long day. The agitation for anew contract started afresh. Mr. Mayer wanted to nail Greta down for five years. He pointed to the press notices and spoke of the vast sums that were being spent in boosting Greta to the heights of stardom. She replied with great unconcern that she had no ambition whatever to figure in publicity. She had already suffered much at the hands of press agents and press photographers. “When I am as famous as Lilian Gish,” she had been heard to remark, “I will never pose for another press picture.” tt tt MAYER found the new star difficult to argue with. In her broken English she could not say much, but her logic was devastating and her methods were singularly direct. When driven into a corner she would simply remark, “I t’ink I go home now,” and suit the action to words. The management deemed it wise, as a counter-move to her growing discontent, to place Mauritz Stiller in charge of her next picture. This was to be called “The Temptress." Greta did not like the role. She objected to playing “bad women." But conscientiously she did as she was told, meekly and modestly, so that they could find no fault with her. She felt that, bad as the part was from the viewpoint of her natural inclinations, she could draw some comfort from the fact of working under Stiller once again. But it was not to be. The misunderstandings between Stiller and the company, which had really begun before his arrival in America, grew more serious day by day. Work on “The Temptress" had scarcely commenced when an impasse was reached, and Fred Niblo was put in over Stiller’s head to complete the picture. One can imagine Greta's feelings when this happened. Too worn out to struggle any more, she let events take their course, resignmg herself as best she could to the altered circumstances. “The Temptress" took six months to make. They were months of nerve-racking discomfort for Greta. Meanwhile her sister Alva's illness had taken a turn for the worse. Then came the news of Alva's death. LYRIC 2 Last Days! On Stage I qEBE DANIELS 1 and BEH IYOM I ramou. FUm st * r * | IN PERSON I Flu* I PROF. LAMBERTI I Many Othff Acti 1 cfys/'Awu DUNN *auv EILERS\ ljf£2> wrsonai J

IT was the final blow. Greta would have liked to hide herself away and see no one. Still, she had to go on. The effort, however, took heavy toll, and left traces on her by no means robust constitution — traces from which it took her years to recover. The next picture for which Greta was cast was “Flesh and the Devil”; and this landed her into fresh trouble. Once more they pressed her to make a five-year contract. Once more she fell back on the argument

that she disliked “bad 'women" parts. Louis Mayer wanted the film to start at once. He thought this nonsense had gone long enough. Without much ceremony he ordered Greta to go to her dressmaker and be fitted. Greta did not go to the dressmaker. She went to her hotel and got into bed. For a day or two she sulked and would see no one. Then she thought of John Gilbert, and curiosity drove her back to the studio. Greta and Jack had met quite casually. They knew little of each other, but from the very start their co-woj-kers suspected anew romance. The romance, however, was all on Gilbert’s side. He, who had been married twice, and twice divorced, imagined he knew all about the technique of love-making. a tt tt UNEXPECTEDLY, Greta, however, proved by no means cold toward Jack. His vivacity and enthusiasm infected her. She liked his fearless unconcern. So their friendship awakened rapidly, and warmed day by day. The scenes of their love-making in the film were the most realistic Clarence Brown, the producer, had encountered in the whole of his career. Delighted, he fostered the little romance by every means in his power, eagerly registering the rosy rapture with his cameras!’ Jack took it all for true coinage. In these days Mauritz Stiller was busy with “Hotel Imperial.” Now Pcla Negri played the part for which Greta had been intended. When Stiller was engaged in a film, he would let no one disturb him, not even Greta. Consequently, she was left much to herself, and had every excuse for accepting Gilbert’s polite attentions bothf in and out of the studio. Gladly, too, Greta accepted the hospitality of his charming home. Gilbert had just moved to his new house in Beverly Hills. Its fine, wide veranda, commanding a magnificent view, its beautiful garden, and, above all, its sheltered swimming pool, where she could plunge and splash to her heart's content without becoming a spectacle for prying eyes, were a constant source of delight for Greta. Fortunately for Greta, the John Gilbert episode created a diversion just at the right time. Although she had given way in regard to her part, her dispute with the management over the new contract was by no means settled. GILBERT supported her in her determination to hold out. Nevertheless, he gave her good ad[(^woyinnjpim^: jjrmtauninr BEaiKMiifeti uTsTARSi 3 SONGS! HWSJIF GIRLS! \7 JACK OAKIE-JOAM ILOMB|LL Vy SEAT* ibSEESUb Start* Miriam Hopkins TODAY! “SPLENDOR” ALSO OX SAME PROGRAM TODAY 1

THE INDIANAPOLIS TIMES

vice, and this undoubtedly restrained her from any reckless move she might later have repented. “If John Gilbert had not come into my life,” she said some time after, “my American career would almost certainly have ended abruptly.” The M-G-M people wanted her to follow up her success in “Flesh and the Devil” with another “vamp” part. This time, however, Greta rebelled in earnest. She retired again to her hotel. They sent for her. No answer. Days passed. For the first time Greta definitely refused to obey orders. Then the blow fell. By refusing the part that had been allotted to her, the firm wrote, she had automatically broken her contract. From that moment her salary would cease. It was really only a gesture, calculated to frighten her. Her friends advised her to hold out. Stiller, preoccupied with his own affairs, could not take the matter in hand, even if his own relationship with M-G-M had been friendly enough to permit of his acting as mediator. But Emil Jannings, a warm friend and admirer of Stiller’s, was a tower of strength. From his own wide experience, he gave Greta good advice. She spent much time in the Jannings household when she was not at John Gilbert’s, and between her and Emil’s daughter, Ruth, a warm friendship had sprung up. n tt tt ALL Hollywood, sensing something amiss, now began to sit up and take notice. It promised to be a joyous spectacle! Roods of articles began to issue from the press concerning this mysterious Swedish star who was so erratic and incalculable. A creature of moods! There were tales about her startling behavior at John Gilbert's parties. There were wild speculations as to the progress of the GilbertGarbo romance. Greta was furious. The struggle went on for seven long months, during which time Greta received no salary. Once again, however, Stiller quietly came to her rescue. He could not himself act as her ambassador in dealing with M-G-M, but he could send a trusted substitute. There was in Stiller’s circle at that time a gifted young man he had met in Berlin. His name was Erich Pommer. Graduating from the business side, Pommer became production manager for U. F. A. in 1923, and while Stiller was busy arranging Greta’s business with Pabst and Mayer in 1925, Pommer was directing Emil Jannings and Lya de Putti in “Vaudeville.” Pommer, with his mild, conciliatory manner, was just the man to bring the temperamental star and the nettled, management together again. Gilbert had meanwhile introduced his own man-of-business, Harry Edginton, to Greta. Edginton, with Greta’s consent, drew up a five-year contract. The firm yielded on every point except the time period. Greta was to receive a much higher salary than she had ever dreamed of; and she was to have ?* definite say in her choice of part. Hollywood, always on the artist’s side, rejoiced in Greta’s triumph, and the newspapers which had spread pessimistic rumors about her were just as loud now in singing her prr.ises. u t u JACK GILBERT once more was cast for the role of Greta’s lover. Her first picture under the new contract was an adaptation of Tolstoy’s “Anna Karenina,” rather prophetically entitled ‘ Love.” Every one, at least, looked upon the title as prophetic; for the wiseacres now saw no further impediment in the way of Greta’s marriage with John Gilbert. But beneath this outward appearance of harmony, love had, in fact, become altogether too much of a

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complication for Greta’s peace of mind. And just about this time there arrived in Hollywood an old friend of Greta's from the Dramatic School —Mona Martenson, who had accompanied Greta on the tramcar that first fateful morning when they went to Stiller’s studio to be cast for parts in “Costa Berling.” A Hollywood offer had tempted Mona, too, across the Atlantic. But, as in the case of so many young players the trip ended in disillusionment. For months Mona hung around studios, but never a part came her way. Greta seemed to have lost all memory of her existence. Suddenly, however, there came a summons which put an end to this apparent neglect. Greta sent an urgent note calling Mona to her. The exact details of the interview which followed, Mona would never disclose, but it concerned John Gilbelt. The Gilbert-Garbo romance had taken on a pace too swift for comfort. Greta was a bit scared. Jack was • growing impatient of Greta’s non-committal attitude. Greta felt that Gilbert’s ardor was beginning to exceed the terms of friendship. tt tt tt CHE retired to her rooms, choosing only Mona as her companion. She would receive no visitors. She would answer no telephone calls. Jack, at wit's end, was determined not to be put off as easily as the others. Then Greta grew alarmed. Once in desperation, she took refuge in the garbage elevator. After that, she turned more and more to Mona for help, scarcely allowing her out of her sight. Jack’s ardor gradually cooled. He was not in her next picture, and this, as it happened, took her on a sea voyage to an island in the Pacific. While she was away, Jack married Ina

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Eddy, blond baritone, seen here recently in “Rose Marie,” is to appear in concert at English’s Sunday afternoon.

Claire, and put an end to Greta’s anxiety once and for all. With the ending of the John Gilbert episode, and her departure on location, Greta lost sight of Mona, too. After nine long months of fruitless waiting, Mona decided to go home. She is now playing ingenue parts in a little stock company run on commonwealth lines by Gosta Ekman in Stockholm. tt tt n Tl/T EANWHILE, Stiller had gone ■*“*■*■ home. When a wounded beast feels its end approaching, they say it creeps into its cave to die in peace. Stiller was like that. Already he bore distinct traces of that dread disease which causes the limbs to grow to elephantine proportions and the features to assume a grotesque size. He, who had always been so sensitive to beauty, both in surroundings and in people, was now condemned to watch in his own person the creeping consummation of a human ugliness almost impossible to describe. Tomorrow: Home to Sweden. (Copyright, 1936, by United Feature Syndicate, Inc.) v

Bowlers on Screen Leading off the current weekly newsreel, the Indiana Theater is featuring a series of scenes taken at the American Bow-ling Congress, now being held at the Fairground. The sequence shows the opening ceremonies in which Gov. McNutt rolled the first ball and also several of the star bowlers executing trick rolls.

'Three Men on a Horse/ to Open Here Tomorrow, Made Hit Its First Night Author Cecil Holm Was Playing With Helen Hayes When He Conceived Plot; Story Deals With Funny Little Man Who ‘Dopes’ Out Sure-Fire Race System. BY JOHN W. THOMPSON Because it deals with a funny little man who “doped” out a sure-fire system to use in horse-race bel ting, “Three Men on a Horse.” Cecil Holm's play opening at English's tomorrow night, was a first-night hit.

Mr. Holm was playing in Helen Hayes’ “Mary of Scotland,” last season when he got the idea for this comedy. During stopovers, between scenes, he wrote and rewrote. He called it “Hobby Horses.” and one afternoon while Miss Hayes and the cast relaxed in a hotel room. Mr. Holm read his script to them. Some clever member of the group came through with a suggestion that the title be changed to “Three Men on a Hoorse.” Miss Hayes was very favorably impressed and when she becomes impressed with anew play she usually shows it to her playwright husband, Charles MacArthur. He liked it too, and he showed it to Jed Harris, the producer. Accepted Work Mr. Harris accepted the play but wanted several revisions. Author and producer could not agree and

Rudolph Reuter to Play Piano in Symphony 7 s Closing Concert Chicago Musician to Offer Beethoven’s ‘Emperor’; He Has Concertized, Taught in Three Countries. Concert playing and teaching in three countries are among the accomplishments of Rudolph Reuter. Chicago pianist, who is to play th Beethoven “Emperor” Concerto with the Indianapolis Symphony Orchestra, in the season’s closing concert at the Murat on Tuesday night.

Born into a musical family, Mr. Reuter attracted early attention as a 10-year-old member of the St. James’ Episcopal Boys’ Choir in New York, and two years later as a “boy wonder” pianist. At 14, he was organist at a Bronx church, and the following year was appointed choirmaster. After a season of church work and concertizing, he sailed for Germany to contihue his study. Mr. Reuter’s Berlin student life was a varied one. He played violin and kettledrums in the Royal German Academy orchestra, and sometimes conducted the group. Asa member of the school chorus, he Player Makes News in Turning to Opera By United Press HOLLYWOOD, March 18. Few become excited now when a grand opera star turns to motion pictures, but when a film actress turns opera diva that falls into the same news classification as “when men bites dog,” film colony wits chuckled today. Pert Kelton, blond comedienne, is the screen actress who is to trill operatic arias. She has been signed for leading roles in local outdoor presentation of “Aida” and “Carmen.” The actress has been studying voice for more than two years. She is to continue her motion picture work while appearing in the operas. Hope Hampton, silent screen star, probably was the only film actress to win fame as a singer of classical music.

MARCH 18,1936

the “Hobby Horses” started on a merry-go-rcund of Broadway producers. Brock Pemberton, Eddie Dowling, Milton Shubert, Arthur Hopkins and others looked it over, granted that there was a grand central idea but all wapted changes and they didn't happen to be changes that Mr. Holm thought should be made. What the play lacked was finally supplied by George Abbott, foho came into the scene through Alex Yokel, the producer who is now reaping a box office harvest with the production. Local audiences cheered the comedy when it was here in November. The characters are obviously overdraw’n for the sake of the humor and although there are bawdy moments, “Three Men on a Horse’* never gets out of hand.

distinguished himself on one occasion by singing a solo part in Mendelssohn's “Elijah." Most of his efforts, however, were devoted to piano study and composition lessons with Max Bruch. Concert engagements throughout Germany were followed by his debut with the Hamburg Philharmonic Orchestra in Brahms' First Piano Concerto at the age of 19. At the close of that season, Mr. Reuter accepted a position on the faculty of the Imperial Academy of Music in Tokyo. He remained there for several years. At the opening of the World War, he returned from Europe to teach at the Chicago Musical College. He has made his headquarters in Chicago since then, except for concert tours of Europe and Asia in 1923-25. At present he is on the teaching staff of the American Conservatory of Music. slum?