Indianapolis Times, Indianapolis, Marion County, 8 March 1940 — Page 26

Mamba’ Is Deep Drama

Finished Performance Given By Ethel Waters.

For once in oyr theatrical lives, opportunity knocked a second time at English’s last night. And an audience of moderate size availed it-

self of the special privilege of seeing Ethel Waters’ performance on “Mamba’s Daughters,” Dorothy and DuBose Heyward's tragic story .of Gullah Negro life. The same play and players were here in November. And last evening’s repeat performance is called a special privilege because Miss Waters’ portrayal happens to be a golden moment in anyone's memories of the theater.

Pertormance Is ‘Finished’

What this writer said on the earlier occasion can only be repeated here. This Negro singing star of numerous revues, in her only dramatic performance, has proved herself one of the first actresses of our theater. Her characterization of Hagar, the powerful, simple-minded Negress,.is overwhelming. The sincerity of her pathos in this quenchless drama of mother love casts a spell over her audience. She is| Hagar—but she also is a finished actress whose voice is music, whose gestures have the eloquence of rightness, economy and native grace. There is no story of long preparation behind this performance. Miss Waters has now what others strive for vainly throughout their careers. She is a borp actress and, though she has come belatedly into her own, gratefully welcomed. Last night’s supporting cast, headed by Fredi Washington, Georgia

Burke and Willie Bryant, proved it-

we have seen this season. There was careful, sensitive playing even to the smallest part which-has not slackened in the. months since the play’s first engagement here. It is unfortunate that. English’s was not packed for the performance. But those who saw it partook of that rare communion which the theater at its’'best affords.—J. T.

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Second Visit

Shown here are Rhett Butler and Mrs. Butler, the former Scarlett O'Hara, who are ‘actively concerned in a movie called “Gene With the Wind,” now at the Apollo. Their real names, in ‘case you had forgotten, are Clark Gable and Vivien Leigh. : i

MOVIES

Has

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RIGHT NOW, to those whose of Hollywood. has provided the stories for two of:

than that of the corps of highsalaried and highly touted European directors who have been imported through the years for the purpose of performing miracles in the 50-year-old “infant industry.” Our ; principal concern here is with Mr. Steinbeck’s “The Grapes of Wrath,” which moved today from the Indiana to the Circle for a second downtown week. And though a great many enthusiastic things were said about the picture in this corner last Saturday, the subject is not one to be exhausted easily. :

“The Grapes of Wrath” is a thing of small memorable niceties, as well as a production of sustained power in its larger aspects. And after words have been set down in the first flush of enjoyment, new recollections keep clamoring for ate tention. ” ” 2 3 FOR ONE THING there is the poignant humor of Mr. Steinbeck's writing, which was as admirably realized Wy Director John Ford alements of his talent. This huor is nowhere more delightful than in the few sequences devoted to the Josd children, Ruthie and V/ine It does not seem an exaggeration to describe Mr. Steinbeck’s. treatment of these youngsters as TarkOne finds .the same apt and truthful’ « ption, the

hood’s vagaries as in the Indianapolis author’s books: e humor of Ruthie and Winfield’s exploratory. tour. ‘of the their aide; across And the scene inf the roadside restaurant with’ the ‘hard-bitten;” séft«hearted woman who sells them the candy is one to wring the heart. We might regret, however, that Mr. Ford allowed his. young actor to gaze so fondly apon the candy sticks. Mr. Steinback had them hide the sticks in a suffusion of embarrassment and delight, which was much nofe truthful, as well as more patiaetic. _ But that is almost the only criticism I might make. of a picture so excellent that the flaws. are as minute as the one cited here Its virtues are manifold and of heroic size. It has caught the essence of its subjects’ lives, their hopes and beliefs, their tragedy and their fun. It has presented them with utter simplicity. The picture is a powerful incentive to anger against the existing conditions of its locale, But it is not a sociological homily, It

is a drama.

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By JAMES THRASHER

The ‘Grapes,’ Now at Th. Circle;

Tarkingtonian Passage

enjoyment of the movies goes be-

flyond Dorothy Lamour, John Steinbeck looks like the fair-haired boy

Mr. Steinbeck, the unpretenticus recluse and former day laborer,

Hollywood’s bravest and best films

in long memory. And his influence at present appears to be greater

However, “The Grapes of Wrath” cannot be called “theatrical,” in the sense that Mr. Steinbeck’s “Of Mice and Men” deserves that description. This other, and almost equally excellent film, which played Loew's a few weeks ago, belonged on the stage even in its original form of a novel. The tautness and economy of its writing, the symmetry of its plot, the small arena of its time and action, all these predestined it for the footlights. And it was a great play and a great picture. Then, in “The Grapes of Wrath,” Mr. Steinbeck pursued an entirely different course, His

characters’ search for decency and||

security led them on a far-flung course. To have condensed it to

the theater’s limitations would have

been to destroy substance, form. and implications. Fortunately the country’s dramatists accepted the obvious. ss 2 =» . BUT THE SCREEN also has its limitations. Enthusiastic readers sometimes forget this, and we hear many = devious carpings when a “Gone With the Wind” or a “Grapes of Wrath” comes along. Not many of these objections are entirely valid. For the screen,” though it can approach a novels spacious proportions, still has its special powers and limitations. The novelist may, more than any

other artist, perhaps, indulge in

loose construction. He may upset sequence and chronology. He may be as detailed and verbose as he pleases—and a great many .contemporary writers are pleased to do so, judging from the length of their works. Though the screen may conquer

space and time and paint broad vis-|

tas, it has the special theatrical need to move steadily forward toward a definite close. For this reason the reader may often find his favorite book juggled for the sake of symmetry and time- limits on the screen—and very often to the plot's advantage. One more point and: I'll leave Mr. Steinbeck’s story of the migrant Okies ‘to your-enjoyment. And this final point is only the devout wish that public and producers alike will let “The Grapes of Wrath” remain simply what it is, a great motion picture. : But there is always the possibility that this wish will not be fulfilled. Every time a motion picture departs from the innocuous norm, some busybodies ih public and private life are bound to interpret such a

_| departure as an alarming trend.

Had the Steinbeck book been of such stuff as stage plays are made, it is quite likely that no fuss would have been made until it reached the theater.

NOT 80 WITH Hollywood ang

its public, however. Producer Dar-

ryl Zanuck was besieged by threats during the film’s production. Loyal legions suddenly decided it was their duty to protect the public from such “communistic” sentiments. One movie trade journal viewed with alarm this departure from “pure entertainment.” once the movies became everybody's business. It was assumed that the whole industry might run wild in its espousal of the Okies. And the industry

'|certainly can blame itself for such

assumptions. Times without number we have seen rival producers falling over themselves to turn out

sb | carbon copies of a colleague’s suc-

cessful picture. And now there are rumors that Mr. Zanuck himself may do a sequel to “The Grapes of Wrath’ ’and call it “Highway 66.” Let's - hope it isn’t so. ; In the current picture he has caught Mr. Steinbeck’s inspiration and indignation with courage and fidelity. Another pressing of the grapes would yield only a flat, insipid and diluted draught. Spy having produced a masterpiece, Mr Zanuck will resist the temptation to make further money on a hopeless repetition of the theme, - -

IHoLLYwoop

By PAUL HARRISON "Romans § in Hollywood Is Noither Dead Nor Doslle

HOLLYWOOD, March 8—Recovering from

its astonishment at

the elopement of Lana Turner and Artie Shaw, most of Hollywood is. tickled by this latest of a series of incidents which have been making such chumps of the gossip-mongers. : William Powell and Diana Lewis weren't even known to be-ace

quainted until they were married

Movietown hadn’t heard of Justin Dart, a drug company executive, when ‘news ‘bounded in that: he | and Jane Bryan had taken out a

license,

There have been several other . surprises, each tending to prove: (a) That marriages are not made in publicity departmehts; (b) That romance, locally, is: neither: dead nor docile; (c): That with reason= able prudence, all the people can

be fooled most of the time. Miss Turner, 19,

dozen' Hollywood night clubs.

ARTIE SHAW also knew a glamorous contour when he saw He was earmarked by and

for Betty Grable, but got his first good look at Lana Turner when he worked with her in “Dancing Co-Ed” at Metro several monins

one.

ago.

Back in Hollywood a few Weeks ago, Shaw patiently began wrangling dates onsthe few evenings not monopolized by the busy Bautzer. They went places not frequented by the flicker colony's

know-it-alls.

One evening, driving along,

Shaw said, wonderingly, “You may think it’s funny, but I'm in love.”

“Now that you mention it,” said Miss Turner, “I am too!”.

They went into a drug store and telephoned for an airplane to take

them to Yuma. The rumor specialists were building up a torrid romance between Bill Powell and Loretta Young when he married Miss Lewis. Jane Bryan, prominent in her newly won stardom, was susposed to be in love with a fellow Warnerite, Eddie Albert, when she

red-headed, and locally famous for her preco‘cious curves and the way she tosses them around in a rhumba, was engaged in casual Hellywood fashion to the gregarious Gregory Bautzer, a courtly attorney who could hang out his ‘shingle at a

in Las Vegas a few weeks ago. And

staggered Hollywood with a wire that, as Jane Dart, she intended to give up her career. a J » 2 4 ~The marriages or engagements of June Gale (to Oscar Levant), Wayne Morris, Joy Hodges; Jean Parker, Madge Evans: (to Sidney Kingsley) were complete s ‘to Hollywood. Judith Barrett and Lynn Howard may make an an--announcement any day. “But nothing is likely to top. the astonishment created by Claudette Colbert's marriage to Dr. Joel Pressman. All Hollywood, and movie fans everywhere, had been so gullible regarding the rumor of

-ter that her studio felt obliged to ‘invent an equally false Mexican divorce!

CITY VARIETY CLUB TO HONOR NIESSE

Carl Niesse, charter Variety Club member and general manager of Olson Theaters, will be honored with a “Carl Niesse Night” at the Variool Club tomorrow. Mr. Niesse has held several offices during | ¢ local “tent’s” seven years’ e ce and was active in preparing the club’s

occupancy. It is also expected Whiteman will be a ‘sussint the party. :

ROY ROGERS SUES - 2D ROY ROGERS

HOLLYWOOD, March 8 (U. P.) — Cowboy Actor Roy Rogers today asked $150,000 from Cowboy Actor Roy. ‘Rogers for wrongful use of hig name, Mr. Rogers, the plaintiff, said he had been knuwn for 30 years: as

WHEN DOES IT START?

APOLLO

‘Gone With the Wind,” with Clark Vivien Leigh, Leslie Howar Sint Yivien Leigh Leste Bo 3130, an .

CIRCLE wii “The rapes of Wrath” Henry ra Jane Wrath” John {atradine, Sri Bowden, at 11:18, an i “The Vatican of f otra, 4:13, 6:48 snd

CIVIC “What a Life,” Clifford Gold smith’s comedy of high od) life Presented by a Civic Theater cast finder Edward Steinmetz ® direction. Engage ement throug! Wednesday; curta t 8:30.

INDIANA “Ape Lincoln in Illinois,’ with Raymond Massey, Gene Lockhart, fary Howard, af 3:36, 6:40 a

aan nai Piny 5 % “with Joe Penner, Ol inaa Hayes, ¢ at 11:19, 2:32, 5:45 and 8:58.

LOEW'S “Broadway Melody of 1940,” wiih :

EB Astaire, Eleanor Powell, 0 Migphy, 88 12: ¢ 12:35, 3:30. 6:40 End 0.80;

ee-Mile Limit,” with Jack oie. py Carey, at 11:15, 2:20, 5:30 and 8:40.

LYRIO

ite and his orchestras, or if hits Marae, 3.04, 5:24, 7:34

and 9:44. ARSsiiy hil sayonersble., with Pat & Brien, Amold, Broderick rawford, aw screen at 11:25, 1:45, , 6:25, 8:35 and 10:45 .

“Roy Rogers,” -but that two years

LOST BY EXWIFE|,

fault if she Jost . Bur in property settlement with her fo; husband, Director Lloyd F. ' | Superior Court ruled today. -

In a suit to recover $12, 0 fron her- attorneys, she said that her

divorce agreement had stipulated that the director was to ‘pay her $137,500. She charged her lawyers| gave her $125,000 and kept the rest.

Robert Young nes been - new long- term acting contract.

a secret marriage to Norman Fos-+

new downtown headquarters for that Paul|

Starting

ago Leonard Biye Sipoptiated his

AT LAST! Through th

“of the screen . ol I olis movie patrons can’ How see’ the greatest play of _the decade . AT REGULAR MO VIE PRI . ES!

Leer PULITZER PRIZE PLAY

ABE LINCOLN IN ILLINOIS/

Rivmonp: MASSEY “a

GENE LOCKHART . RUFCGORDON | MARY HOWARD”: DOROTHY TREE = HARVEY STEPHENS ‘MINOR WATSON 2

Today! A Swell Show at & Low Price! Wm. Boyd “HILLS OF OLD WYOMING” Preston Foster “MISSING EVIDENCE”

All at’

APOLLO Buy Reserved Seats Now!

~ For night shows and Sunday Matinee, tickets for all reserved seat performances up to and including March 14th, now on sale.

SEE IT TODAY DOORS OPEN AT 3:30

1,153 UNRESERVED SEATS for continuous morning and afternoon’ shows are waiting for you! Come early!

You may come anytime from 10 to 2:30 p. m. and see G complete performance!

GONE WITH THE

WIND

Ney You'll see it here in its eine entirety, exactly as it

was presented at Ate. Ter lanta and Broadway 16. TAX

premieres—it will not Continvous | NO SEATS RESERVED

be shown anywhere ex. cept’ at advanced ; prices,—at least “until 1941, : BUY RESERVED SEATS NOW bai NOW ON SALE AT Night — SP, M.) All seats Bun, Mat. (3 BoM AU sents reserved $1.10. inel, tax. . Weekday

Indianapolis Symphony Orchestra

_ FABIEN SEVITZKY, Conductor

CONGERT SUNDAY, MAR. i 10, MURAT THEATER 3 P. .

- CAVALLERIA_ RUSTICANA

“ Janet Fairbank as Santuzza =

(In Concert Forms and Is base “i Ee akslotoias inilia Edna Tyne Bowles as Lola & Lucia Thomas I Thowss as Alffe:

Indianapolis’ Symphonic Choe and. 1 Herman ‘Berg,

FRED ASTAII

THE KING. OF RHYTHM

ANOR POWEL

THE aUIN OF TAPS

so FAST IT'S ALMOST or’

GEORGE MURPHY FRANK MORGAN: [AN HUNTER FLORENCE NEE LYE CVER Screen Play by Leon Gordon and George Oppenheimer

Lyrics and Music by Cole Porter + Directed by NORMAN TAUROG _ Produced by JAGR CUMMINGS « A Metra-Geldwyn: Mayer 2 Picture

: :