Indianapolis Times, Indianapolis, Marion County, 29 November 1940 — Page 28

Hoover Searches For New Talent

New acting talent is being sought by Richard Hoover, Civic Theater director, for the five productions remaining in the 1940-41 season. The next offering will be the farce comedy, “See My Lawyer,” which opens Dec. 6. Mr. Hoover will hold public auditions for persons over 20 .at 8 p. m. Sunday at the Playhouse, 1847 - N. Alabama St. Those who have tried out previously are advised that they

[Frank Tinney,

need not try out again.

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NEW YORK, Nov. 20 (U. P.)— Frank Tinney, once one ofthe stage’s highest-paid comedians, died last night at the U..S. Veterans’ Hospital here after: along illness. He was 53. Ldn Mr. Tinney, who reached the peak of his fame in the early ‘20s, entered the hospital in June, 1939, for’ treatment of a pulmonary condition from which his death resulted. His meteoric career ended . with him penniléss in 1928. He was an undertaker’s assistant in .Philadel-

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phia and a fireman before going on the stage. Ue ty Mr. Tinney achieved considerable notoypiety -in the middle ’20s as. result of a romance with Imogene Wilson, Ziegfeld beauty, who on one occasion’.brought him into court-on a charge “of beating her. His: career was. blighted, the romance ended, his wife divorced him and he had a

breakdown from which he" never}

really. recovered. He never came back to Broadway although periodically reports would spread that he had recovered sufficiently in

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" He had spent the last decade: in Philadelphia, ‘living with relatives. He was a captain in the Quartermasters Corps during the World War and a military funeral will be held in the national cemetery at Arlington either tomorrow or Monday. “ Offictals at the hospital notified Mr. Tinney’s son, Frank Jr., now living in California and he was flying here to make funeral arrangements. :

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MOVIES

Europe's War Writers and Escape from Nexis Come to. Loew's and Indiana Screens

ert Paige, Virginia Dele. S LOEW’S—“Escape,”

Roland Young.

Loew's

| Hollywood has usually been quick ‘ tto seize upon events of current and

international interest as the background for melodramatic plots. The Sino-Japanese ‘and §panish wars, the present European conflict (“Foreign Correspondent” and this week’s “Arise, My Love” are examples) and the national defense activity may be cited as proof.

But with Nazi Germany the procedure has been different. At first producers fought shy of the subject. Then they employed it in pics | tures which tended to arouse us to dangers at home, such as “Confessions of a Nazi Spy,” or to add fuel to the nation’s al= ready indignant

t ‘lreaction to the

regime, ag in “The Mortal

nr a Storm’’ and

Miss Shearer “Four Sons.” Re-

cently Naziism and Adolf Hitler provided ‘material for, Chaplin's comedy. But only now, in “Escape,” does totalitarian Germany take a definite back seat in favor of ad-

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This isn’t meant to imply that, the film’s producers have employed any ‘of the familiar catch-penny tricks to mislead the patron and cash in on a misapprehension. For one thing, “Escape” is adapted from a well-written and widely read novel instead of being the usual stenciled melodrama. Furthermore, it boasts a distinguished cast and some expert direction, ’

Seeks to Rescue Mother

Briefly, the story is that of a young, impetuous, sometimes unpleasant American and his efforts to rescue his mother, formerly a famous actress, from a German concentration camp. Thwarted by official red tape and endangered by his persistent ‘efforts, he is befriended by the Countess von Treck, the mistress of ‘a Nagi general: by a humane camp doctor and by an old family servant. | ; The eventually successful strug gle to get Mme, Emmy Ritter out of the camp alive is one between emotions and personalities, rather than between ideologies. In the end it is the countess who, by renouncing her new-found love for the American, inducing paralysis in the semi-invalid general and remaining with him, allows the mother, son and sgfvant to escape across the border “to freedom.

Performance Satisfying Norma Shearer’s performance as

the countess is one of quiet/and sat-

isfying authority, though |conceivably the characterization might have been more penetrating. Conrad Veidt, as the general, gives an

-{unfailingly distinguished account

of himself. And Alla Nazimova,

bringing her impressive talent back

NN» |to Hollywood after 15 years, sur-

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mounts the ungrateful requirements of a part in which she must lie in a prison bed and suffer, lie in a coffin and play dead, and wind i Fd masquerading as a ‘teen-age

Only Robert Taylor, as Mark Preysing, the ,young American, finds himself ovér his depth. Mr. Taylor's native dramatic inadequacies oifce ‘again are decidedly apparent. In smaller parts are such’ gifted players as Felix Bressart, Albert ‘Basserman, Blanche Yurka, Bonita Granville and a new Dutch actor named Philip Dorn.

Taut and Absorbing

How closely the picture follows the book, I don’t know. But since it is a well-contrived, taut and absorbing screen story, it isn’t fair to ask for more. Director Mervyn LeRoy may not be another Alfred Hitchcock, but he does have something of the Hitchcock gift for stress, climax and suspense which doesn’t permit the spectator 'a comfortable long breath from be-

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As a companion piece on Loew’s

¢ | bill, the old George Kaufman-Marc

Connelly comedy, “Duley,” is brought up to date and amusingly acted by a cast which includes Ann Ian Hunter, Roland Young, Billie Burke and Reginald

- DANCE TO-NITE and SATURDAY "OLD-INN.

South Big-4 Shops, Beech Grove ' Look for Roof Lights

«INDIANA—“Arise, My Love,” with Claudette Colbert, Ray Milland, Walter Abel. Also “Dancing on a Dime,” with Grace MacDonald, Rob-

with Norma Shearer, Robert Taylor, Conrad Veidt, Alla Nazimova, Also “Duley,” with Ann Sothern, Ian Hunter,

° Ta : >. Indiana Gentlemen, and ladies, of the press a la Hollywood are much with us these days. Witness such photoplays as “His Girl Friday,” “A Dispatch From Reuters,” “Foreign Correspondent,” and currently at the Indiana, “Arise, My Love.” : Po Two of these had to do with war paperwomen as the guys who .wore the pants, “Arise, My Love” combines these angles. ! It bears upon Augusta Nash (Claudette Colbert), properly nicknamed Gusto, the exceedingly good to look upon and bright young thing who writes European fashion news for Associated News. Because of Hollywood’s predilection for romance

and because it makes a swell plot, the film also concerns Tom Martin

correspondents in the Euro unpleasantness, two concerning news-|

(Ray Milland), free lance flier and

female charmer extraordinary. Message Thrown In

From the opening scene you might be led to believe that Mfr. Milland and Miss Colbert were again to jndulge in their usual frivolous -histrionics, but no, they are revealing instead a Europe in flames with a message thrown in for extra measure.

Gusto, you see, wants fame. Sol

she conceives the idea of kidnapping Toni from a Spanish military prison just about the time, he has the opportunity to utter some famous last words before a motley crew of leveled rifles. She does this by convincing the prison governor that she is Tom’s wie and that the papers she has are proper to effect such a release. . i ‘Tom, of course, is a bachelor, but what would you do on the point of death if a delicious and well-round-ed young lady flung herself upon you gasping “darling” between p= es. Exactly. That’s what Tom did. In their ht to Paris they have to steal a plane, which makes it all the more involved and exciting.

Assigned To Berlin :

For all this and the story of Tom’s life, Gusto is assigned to Berlin as special correspondent. But before Berlin comes love and an idyll in the forest of Compiegne. Too, come the opening blasts of World War II, and Gusto’s plea that they return to America, Their ship is the Athenia. Washed to the Irish coast they find each other only to part again, Gusto to file her story, Tom to join the RAF. Other . things happen but finally they are back to the forest of Compiegne. France has fallen. Now they can return to America, Gusto “to say the things she wants to say” and Tom to “make tens of thous-

ands of pilots for tens of thousands]

of planes.” It’s all very improbable and. all very gay and exciting. Who cares for improbability, though, when along with that you get a film that bounces, has plenty of volatility and keeps things on the go as this one does? Why though, inject a message in an otherwise blithe and grand picture?

She’s Quite A Dish

The Indiana’s second feature—|"

“Dancing on a Dime”— is an exploration into the field of young players on Paramount’s contract list: While atypical backstage tale of a stranded: troupe that finally opens

the show despite financial difficul-|

ties, it is well sprinkled with some enthusiastic performers, particularly Grace McDonald, singer and dancer, who is quite a dish. Certainly “irace, who has hel ample stage: experience in suc musicals as “Three After Three,” “Babes in Arms,” “One for. the Money,” and “It’s Very Warm for May,” deserves to move in better circles than the Class B's.—D, M,

WHEN DOES IT START? CIRCLE ' Yd

Alley,” with Alice Grable, ck e

er ew orie Weaver, at

So018%; Mar , 5:56 and 9:02. INDIANA Arise My Love,” with ‘Claudette bert Raj Milland, Walter Abel, at 4, 3:31, 6:48 and’ 10:05. \ Dancing on a Dime,” with Grace McDonald, Robert Paige, Virginia Dale, at 11, 2:17, 5:34 and 8:51. : LOEW'S THseape,® with Norma Shearer, Robert Tayiof, Alla Nazimova, at 12:18, 3:20, 6:50 and 10. “Duley,” with Ann Sothern, Ian Hunter, Toland Young, at 11, 2:15, 5:30 and 8:45.

Sidney 11:44, 2:

«« ol 2

LYRIC audeville, with. Edmund. Lowe, Arg Dvorak. Lawrence Welk and his ' orchestra, on stage at 12:57, 3:49, 6:42 and 9:34. Garfield, Brenda Masshalll biariorie ar] i nda Marshall, Marjorie. Rambeau, at 11:19, 2:11, 5:04, 7:56 and 10:39, : ’

Soloist: MARJOR. Glinka, Conve Good Seats at $i, $1

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2 EX-OPERA STARS IN GINGER'S FILM HOLLYWOOD, Nov. 20—As New York’s opera season prepares to get under way, Hollywood makes use| of two former grand opera singers, | Eduardo Ciannelli and Dennis Mor-

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