The Los Angeles Times from Los Angeles, California • 41

2tos StTCCDAT JrORNING. MAY 18. 1939 PART 1111 ViMEI LANG-FANG BRAVOS RINGS OUT NIGHTLY a SCORNS REALITY fcj. 'J I Jti Audiences Cheer "Criniinul Code' ifI ACiing or mi Human Conduct mJSTAGE SfPTR? TRTRXT IflK i I Arthur Dry on Ploys Wardcii in Prison Drama Beautiful Women, i A'erer Studied One INDUSTRY OUTDISTANCES ART Releasing Demands Forw Quantity Turnover in. Film Sludios; Theater Expansion Disregards Logical Solution Seen in FcWer Pictures and Broader Scope f3 (4 i I Originality Undesiruble, Perfection Counts BY ALMA WHITAKER Mcl Lan-Fang, A name to conjure BY EDWIN SCHALLERT 4 fi-piALKIES are too hard to make." The voice had almoit a note I of angulth In It.

The exclamation came from the heart. The man who made the remark Is one of tho most prominent producers In the films. He knows his stuff, and when he declares that talkies are a' problem, and the inflection of his words indicates they are an agonizing one, it spells something significant. Jsit i A) BU 0 with. The greatest actor In all China, who epitomizes Chinese femininity, nay.

universal femininity. his every role. 1 He rose from a late breakfast "A nd greeted me with a strong clasp T' of those long, delicate, potent hands. He wore a plain black Chinese suit, and seemed a quiet, unassuming llt-V" tie gentleman, quite devoid of subtle, utterly femlnino mannerisms amaze American audiences. Yes, and quite guiltless of feminine on trie nc tWm.

ffijW-dr I 1 charms 1 oven smokes like i Presently he was explaining, via i i'Ay I I interpreter, tne ,1 Chinese drama. runaameniais on jiWV i viv 3, i tt in the essence, XX VW- 1 I WW 'FT f. the hiRhly distilled emotion of hu- lU'V 4 7 feff.L,"- 111 man experience. Not realism, not I don't think he 'was talking about the mechanical side alone. That has progressed admirably In a year.

The real problem of the talkies Is In the human domain. Tho question now concerns getting stories, and directors to produce them, and actors to play them. It concerns, toq. proportioning tho number of good subjects for filming to the volume of producing that is required to fill the theaters. Are there enough t3 be had? Is there an answer to this particular problem, as long as the present fierce competition between organizations producing and releasing exist? -The producer I have mentioned questioned Just that.

FEWER pictures should be the solution of the difficulty but it can't be. Since the talkies have come In really more pictures are being demanded. And more will continue to be demanded, for there Is a wave of theater expansion right now. It may lead to a serious tit- actuality, but the embodiment of i Human conduct, refined through the A I was taught every small-T est gesture, every pose, every half a step. I never consciously oDseneci beautiful woman in my life.

I am content to depict the essence of womanhood in all her reactions to i i A 'i kind of contingency, as by students through "history. Originality Is undesirable Is the perfection of execution that matters. jj CLASSICAL DRAMA FT That is why so much Chines drama portrays stories of centuries for human nature Is .1 changeless. Modern drama Is unim 1 'Vi my 1 "i portant, classical drama vital. Your Shakespeare Is the nearest you get to it now but your actors still wish to give original portrayals of Shakespearean roles.

I saw Hamlet' In New York Here Mel Lan-Fang smiled cryptically. "But vour Harvard Univer- YOUNG-WOMANINAHURRY Mile. Colbert Tarries in Hollywood No Longer; on ay A round If orld on Freighter 'BY PHILIP K. SCHEIER Release to the local Paramount Theater Katharine Brush's best seller made-movie, "Young Man of Manhattan," provides fllmgoers with an opportunity to witness Claudette Colbert enacting a young woman of Manhattan. calmly, "I am sailing around the slt.y Is iroing back to the Greek tirama.

When occidental civilization has come as for west as it can. it will come to Chines classical For instance, in one of my jj plays I am a drunken woman, try-. 1 ing to seduce a eunuch. In an ft H. as .1 Shaw Comes to Town Via the Mason Theater, where his play, "Arms and the Man," opens tomorrow night.

The Maurice Colburne Players will interpret it. Four of the members are Hilda Case, Mr. Colburne, and (below) Barry Jones and Phyllis Coghlan. nation, a slump at the box- offlcc. It is the quality of the output that holds up the theater attendance, and the necessity for the maintenance of that quality Is vital with the talking film.

The poor talkie flops oftentimes worse than the poor silent film and needless to say. the quality film outdraws any silent picture ever made. Rut the only way to achieve the quality ingredients 13 concentration on the quality production. Quantity doesn't yield ths results. THEftE Is another "out," I believe, and that Is the building up of personnel.

As another article on these pages shows there have been many changes in the studio personnel, but additions' to the total of talent have been relatively small. It might seem that under the present exigencies the companies were not broadening the scope of their efforts sufficiently, not doing enough to develop new players and writers and directors, or falling give (Continued on Page 20 Column world on a freighter." And it really turned out that she Intends to with her young and talented actor-husband, Norman Foster, who, portrays the young man of Manhattan; with Miguel Covarru-bias, and Alex King, caricaturist and illustrator, respectively; Mrs. King, and Rosa Rolanda. The party of five which Mifs Colbert will Join in Los Angeles Harbor left New York the 3rd on the freighter, S. S.

Cingalese Prince; from here the six passengers will be transported to the Philippines, Japan, China, Indochina, Java, Borneo, Ball, India, Egypt, the European capitals and, eventually, Manhattan again in the lau. TO REVISIT HOME En route she hopes to stop off at Paris, her native city. Miss Colbert came to America from there when she was 13 years of age. She has been on the stage since 1924. Her first motion-picture role was in "For the Love of Mike," a comedy which so prejudiced her against screen work that she was induced to return only when pictures found a voice.

Her first Important talkie part, as the heroine of "The Hole in the Wall," convinced her that there might be a place for her after all; and, "The Lady Lies," cinched it. Followed leads In "Young Man of Manhattan," and "The Big Pond" (with Maurice Chevalier,) and then, nt the express request of George Abbott, director, a coast trip for "Manslaughter." Miss: Colbert has been under the Kllegs day and night since she arrived some weeks ago; she admits having heard rumors of the California sunshine, and promises some day on another Coast trip to Investigate their authenticity. That will not be before Bert Lytell Fills a dual role in "Brothers," the drama at present occupying the boards of one of Henry Duffy's houses El Capltan In Hollywood, to be exact. Drawn by Stag Artist A. L.

Ewlng. LYTELL PLAYS DUAL ROLE Character in "Brothers" Gives Former "Lone Wolf One Chance at Being Gentleman iwarably brutal. We, however, give but th distilled essence of her emotions and behavior, so that it Is of all vulgarity, yet Is perfectly explicit. It is the same when the Princess kills the Bandit Gen- V. riral.

We do not show the blood ACTOR SEEKS LOST ZEST George Fawcett Returns to Theater in "Great John Ganton;" Would Recapture Old Glamour BY ELENA BOLAND Regretting the passing of tradition from the theater, restless in a rut worn by fifteen years of one activity, George Fawcett looks again to the stage for glamour. with fear, lest in their complacency nor even the agony of the murderess. She draws hair 5. 1 through her mouth to hide the emo-J Hon of hate. The blood must be Bert Lytell returns triumphant to El Capltan, where his play, opened last Friday a play in which he has starred for nearly two years, eleven months In New York alone.

they destroy the mystery so necessary to the artist's self-fulfillment. Miss Colbert, one of the most re freshing of the new generation of stage actresses, has been in Hollywood long enough to play a featured lead in the Paramount production of "Manslaughter." and another in a picture temporarily entitled "Slightly Scarlet." It was on the "Slightly Scarlet" set that I overtook her, Just as the Immaculate Adolphe Menjou turned to her with a somewhat unexpected remark which sounded like, "Puls-je vous etre utile?" Instead of appearing surprised, Miss Colbert rejoined in kind. "Non, mercl," she said, "e'est le fermoir qui est un peu dlflcile." Mr. Menjou was unruffled. "Vous ne pourrez Jamais arrlver toute seule," he cautioned, adding: "Vous avez entendu ces detonations dans le Jardin?" I was getting nervous about this.

"Say," I demanded, "Is that French or am I crazy?" "Certainement, m'sleur," my escort replied courteously, leaving me more puzzled than ever. I was relieved when one of the assistants shouted, "O.K. It's a lily. It's a wow." "Oh," I said, giving him the benefit of the doubt, "you speak English?" FRENCH. RIGHT ENOUGH Miss Colbert, properly Introduced, said "How do you do?" It.

was a day of surprises. "Slightly Scarlet." It developed, was destined for the foreign market as "Un Tout Petit Peu Rouge," or something like that. They were speaking French all the time. Just as I had suspected. "Yes," explained Miss Colbert, without trace of an accent, "I finished my work in 'Manslaughter in time to play with Mr.

Menjou in this. Next Tuesday," she resumed Years of Stage Tradition Packed-Into Work BV MURIEL BABCOtK. Every now and then, LosLAhizlti first nlghtcrs get so excited a play premiere that they forget themselves to the point of, -Standing up and shouting "Brap" 'for the performance Just Tills doesn't happen very ofSen. Even on first nights, a little' enthusiastic handclapping will sufllce and make the actors and author quite happy, indeed. Hence, when a drama so fine moving, so stirring makes itself felt to the point that It arnusci not only guileless first nlghtcrs from their red plush chairs, but Ttl-s audiences at ensuing and.

glamorous performances to hout and cheer and redden the palnvj of their hands In appreciation, it is apt to be pretty good. Such an amazing phenomena is now taking place at the Belaso Theater where "The Criminal Code" is being performed. EvetT night, as the final curtain rings down on this Martin Flavin drama, some portion of the audience break out into cheers, and heart-felt cheers. MASTERLY PERFORMANCE Now the star performer. In play to Mr.

Arthur Byron, -abactor of fifty-eight summers, massive -headed, gray-haired, kindly, human. He to seen as Warden Brady. He gives a magnificent and masterly performance. It to a performance that one might think would cause him to leave the theater depressed and bowed down with the -tragedy of life so deep does he appear be Immersed In his role. Byron found, yawning mightily, tn Ins dressing room back stage, at) the Belasco (he had slipped a brief nap in between the Wednesday matinee and evening shows) disclaimed this.

"No. I taught myself long ago take my parts as they he said. "I feel my character when I play it and when the show is over, I leave it until the next day. 'Jks matter of fact, I. am a comedian at heart." THREE CHILDREN -V Mrs.

Byron Kathryn Keyes)" ar riving at this moment confirmed her husband pronouncement. Ana then flaey talked of their children. There are three: Kate, Eileen and Arthur, Jr. The two girls are1 on the stage, the son is an artist. Hie family to rich in stage tradition.

Arthur's father was Oliver D. Byron, a most successful His mother, Kate Byron, played -wita her husband. The mother's sister was one of the greatest actresses of her time and made an annual European trip, appearing every season in London, Paris, Vienna and other capitals. Her name, it seems, was just Ada Rehan. Another line of the family, the Farrens, goes still further back Into theatrical history.

Byron, according to facts incorporated in two columns of fine ptlnt in "Who's Who in the Theater," first went on the stage withhis father's company in February, 1889. He has played In so many plays that it to impossible to list them. He told-me his favorite performances include the comedy. "Te for Three," "The Boomerang. "Spring Cleaning," and with Maude Adams in "As You tike! It" at the Greek Theater, Berke-i ley.

"That was one of the fe Shakespearean things I have permitted myself," he said. Both Byron and Mrs. Byron re anxious to be finished with "The Criminal Code" that they may get back to Skowhegan, their sum- (Continued on Page 12, Column 6)' PERPLEXITIES Palm to Marc Connellys ureen rasiures entered In the person of a fine Negro actor, a friendly chap of 60 or thereabouts, whose demanor was so noble apd-agreeable that I knew at once that the book of Genesis would not be Insulted. "The Green Pastures" stops Just this side of the New Testament. Mr.

Hamilton declares the play to be "astonishing in Its originality," not aware perhaps thai rt was suggested to Mr. Connelly; by, a book. Years ago Irvln Cobb, discovering that Mr. Bradford volume was a masterpiece, fascinated his neighbors in East Hampton. L.

by reading from Its contents, impersonating its characters with a holy sense of humor. and with a luscious Negro accent. "The Green Pastures" is. not original, it to more than that. to a best play because it is a fgood show," new, honest, refreshing, thoughtful and perfectly acted by the colored folk.

Better. X. believe, than Mr. Barry's cryptic "Hotel Universe," Its only opponent in the contest except Mrs. Barnes's popular exhibition, "Dishonored Ladv," aided by Miss Katherine Cornell.

MR. GOLDEVS TURN John Golden's "Ada Beats tl Drum" to an uphill comedy about some hayrick Americans who goto France in search of culture. Their experiences, hard by the Pyrenees, are troublesome, and they staii back home, convinced that the United States of America to God country, after all. Miss' Marjr Boland, to an ambitious American matron, struggling for happiness it Europe, to loud and energetic in an old-fashioned way. She shovels hrt impersonation from stage to aud'-ence, throwing it Into our faces fcr fear that otherwise we will no; know what fche aud the author' mean.

"Ada Beats the Drum" not one of Mr. Golden's triumph, and I shall not recommend it those In search of pleasure. would be brutalized I asked Mel Lan-Fang It was difficult to shed his femininity hen he leaves the stage. no my. walk, for Instance, is at once different, masculine.

But mentally, yes sometimes for an hour, I am still In thought." FOUR CHILDREN This remarkable young man Is 36 years of age. married and has four children. He was dedicated to the classical drama at 7 and has continued to study it all his life. When I wanted to know if it was difficult for his wife to live with a man was so amazingly versed in all ihe feminine tricks and wiles, he "smiled deprecatlngly "I 'am not versed In any Individual iemlnlne ways. It would not be 'possible for me to portray any individual woman and cer-tulnly never the American woman." Besides the drama, he is an artist tf great merit, a musician in com-tnand of several instruments, and a teacher to pass on his art very ne explained, 'even when it was under the patronage of the Emperor exclusively In Peking.

Anyone could enter without 2aj If he cared to stand or be -seated upon the floor. Only seats rjrere charged for. Now, as this be-, cornea more democratic, we can (Continued on Page 19. Column S) Irene Rich Credits Rogers Irene Rich gives credit to Will Rogers for an important part In the beginning of both her silent and talking picture The actress' first film appearances were made as an extra in come of the early Will Rogers pictures, notably "The Strange Boarder," "Just Call Me Jim," and "Boys Will be Boys." Miss Rich's first talking picture role was with Rogers In "They Had to See Paris. This to followed by They Had to See London.

Miss Rich declared It was Rogers who first picked her out of -the "mob" and gave her an outstanding bit in "Just Call Me Jim." NO PULITZER Jurors Cheerfully Award negro urama, The Stage Reclaims a Veteran NAGEL, SHINING EXAMPLE BY PERCY HAMMOND NEW YORK, May 15. (Exclusive) The conferences of the Pulitjer play Jurors this spring were marked by none of the perplexities. Common to deliberation. Mr. Connelly's "The Green Pastures," so far excelled the product of his fellow-dramatists that it had no rival tor; the red feathers; and the award was made without the WTinkling of a brow.

Mr. Clayton Hamilton, a judge the Lord God Jehovah!" But Go4 Conrad, Model for Industrious Young Man of I Hollywood; Works Constantly for Two Years Hollywood's shining example of the Industrious young man is Con- rad Nagel. In twenty-four months Nagel has worked in twenty-nine pic- Fawcett has experienced four eras of the drama. He entered the theater Just as it was preparing to cast away those social and professional practices which through heritage had become laws. Some of the rulss and customs, so he declares, were handed down from the days of Shakespeare.

This was the theater whose disappearance he deplores. The old order broke; into a chaos, out of which sprang realism. Glamour, so carefully nourished by former generations, was stripped from the theater to be replaced by the bluntness of actuality. For Fawcett It has never returned. That is why, one reason why, he chose to revive "The Great John Ganton," in which tomorrow evening he will return to the stage at the Vine Street.

This play was dramatized from Arthur J. Eddy's novel by Hartley Manners, and George Fawcett starred in the Shubert production in 1910. He also went with it to London, where, since it is a portrait of a certain American period, it stirred even more interest than in this country. This being an age essentially modern, Mr. Fawcett realizes that in producing this drama of a past decade he to running a risk.

MAY BE MORE POPULAR -But," he argues, "I believe that simply because it reawakens the past, It may prove more popular today than it was in its own time. The story to of Chicago between 1895 and 1905, and paints a picture of society in those years. Conventions and phrases timely then will all be new to present-day audiences. And there to another aspect which will be more understandable now. Various conditions of the stock exchange are discussed and explained.

When the play first came on the boards these developments had not yet been orougnt to hgnt. Audiences were ignorant of their purport. Today they are common knowledge." Fifteen years has elapsed since George Fawcett was on a stage. Those years have been constantly devoted to moving pictures and he wonders if his theater sense has become weakened in the interim. But the thought leaves him undaunted: if it has.

by the end of the week it will all be back, as strong as It ever was. Perhaps because he has been so consistently active In pictures, playing all types of roles suited to his years, Mr. Fawcett feels that now he has exhausted novelty. He feels he has gone stale and his agressive mind will not tolerate this. A theater venture will give him a differ, ent outlet and a new viewpoint Should it be successful, he half dreams, half plans some day to have his own theater which shall be dedicated to revivals of old favorites.

ACTORS SHONE YESTERDAY "There Is no doubt that the dramas of yesterday demanded all of the actor's art. It was what he did with his part that made the play. In those days actors had to act; they had to transcend the faultiness of the vehicles. Today it Is the playwright who provides the situations, who supplies dialogue that contains drama within itself." George Fawcett, as his screen, personality has always led one to believe, is an active, dominating man. He refuses to acknowledge age.

He looks ahead as often as lie remembers back. He is writing a book; not an autobiography, not a history. It is to be simply a chronological composite of the circumstances which have colored his life. And in it will be found, no doubt, that side of Fawcett seldom made public the man who looks on truth and nature "Of course, It's a theme that has been done often enough on the stage." Lytell says, "but in 'Brothers' it Is more reasonable. I play the dual role of the brothers, who, as an experiment in the age-old heredity vs.

environment controversies, are divided one to be adootcd by a wealthy family and enjoy all the luxuries of money and education, and the other a charity boy. "At least I'm out of Jail in this one. You know I was nearly always In Jail in my pictures from 1918 to 1926. beginning with 'The Lone which I am now to repeat in a talkie for as well as this play Brothers' when the stage run concludes at El Capitan. Remember 'Alias Jimmy Valentine," the Boston Blackle stories.

"Kick in', 'Lady Fingers' and the rest of them always a crook; and I should have been in jail when I wasn't. Then there was "The Valiant' which I did in vaudeville for so long, and 'Silence' here at the Mason last year. Pretty well the only nice gentlemanly part I played In pictures was Lord Windermere, when Colmp.n was the bad lot. The worst that can be said of me In 'Brothers' Is that I am weak and foolish as one of the brothers but not a crook." "But you commit a murder in that play!" 1 i i i i slonally. an art When they fall short of this latter standard he Is not troubled.

They are. after all, solely a money-making proposition, he realizes. They must be turned out hurriedly and, therefore, Imperfectly. NOT ENOUGH TIME "Few studios can take the time for sufficient rehearsals. We are handed our parts; we learn them and in one day, or two, we play them.

Can we give our best? No: nor could Rachmaninoff have sat down and played his Prelude for the first time as he renders it now. The majority expect only entertainment from pictures. Fine films have been given the public and seldom have they been financially successful. Therefore, producers make for the people what they patronize, and who can blame them?" Optimism emanates from Conrad Nagel. He is quietly content that talkies ari growing better day by day.

He is cheerful over the return of the theater: for, as he sagely remarks, since the time of Aeschylus it has been predicted that each new innovation would ruin the stage. When silent movies first came into being, as an example, it was said sadly that here at last was the final conqueror. But. Mr. Nagel points, and to facta, silent pictures did not kill ths stage; talkies have not, nothing can.

It has been hurt, no doubt, during the past few years, but Nagel sees a bright future when the theater's wealth will feed the better film and the film will better it. So all in all, Nagel la really very hopeful and, In the meantime there to his vacation. "Oh, well, murderers are not nec essarlly crooks." said Lytell. "Many of them commit murder In the heat of passion, but are otherwise decent fellows. You know, I met a lot of lifers at Sing Sing when I played "The Valiant' for them one of the most tragic experiences of my life.

Th men actually sobbed The actor was in one of the very first talkies. "On Trial," with Pauline Frederick, a little over a year ago between stage plays. Warner Brothers wanted him last summer, but he was booked up for this tour of "Brothers." It was in "Brothers" that Lytell met Grace Menken, sister of Helen. He married her last March, so that they are here together now. Grace Is No.

3, the first one having been Evelyn Vaughn a charming woman, too" says Bert,) and the second Claire Windsor. Oh. yes. I believe In marr'ase." Lyteil concedes, "and aso divorce when two people are no longer happy together." After making two pictures for Bert Lytell returns to New York In a play for Shubert as an alarming Don Juan In a very Frenchy play that will call for infinite finesse to prevent it being "raw." "I'm a bit doubtful as to how it will go in English." he says. "So many things sound more refined in French." SHAW PLAY TO BE SEEN THIS WEEK Engilshe Company, Will Open Tomorrow Night at Mason A taste of George Bernard Shaw Is to be presented at the Mason Theater tomorrow night by a Shaw expert, Maurice Colbourne, a British actor, who has had something to do with all the Shaw plays that have been produced, and has acted in many of the more important comedies.

He also wrote a book. "The. Real Bernard Shaw," recently published by the Canadian branch of J. M. Dent Sons, Ltd.

Shaw himself was a proof Colbourne and his o-actor-man-ager, Barry Jones, promised for a time to develop Into a Shaw festival, for this English company, which has been touring for two seasons, has several plays of the great Irishman in its repertoire. But it was decided the players should show their paces In plays of other English playv rights as well as those of Shaw. The first week only of their brief stay will be devoted to the romantic satire, "Arms and the Man." earliest of Shaw's plays to be acted in America. Richard Mansfield was the adventurous soul who dared to produce the before the beginning of the present century. He played Bluntschli, which Jones will do here; Arthur Forrest, an accomplished player, was Sergius.

and Beatrice Cameron Mansfield.) Ralna. Today Colbourne will be the Sergius and Milda Case the Raina. The second week of the Colboume-Jones company will be given over to performances of A. A. Milne's comedy.

"The Dover Road." with Jones In the role of Leonard, which he created in America. Colbourne was the original Nicholas in (be London presentation. I- 1 tures. He was, It may be remembered, one of the first silent actors to himself across In talkies and with astonishing success. ui.

mnnliHli florH iint.IT tia n.t4A!i thv are, a hudn.M anri. i ill A f. 1 1" km PA NX ri "in whose standards are sky-like, says that the committee had no second choice. And he adds that "The Green Pastures' is so' soartng an entertainment that It comes near to being "the best American drama of all time." Mr. Hamilton voices the united sentiment of his tribunal by describing the play as "simple, gentle, kindly, tender, humorous, compassionate, wise, beautiful, exalting and exulting." In this he songfully echoes the opinion of all who have seen it.

Here are proceedings upon the stage that picture the characters and episodes of Holy Writ in terms at once comic and reverent, orthodox and heretical, primitive and modern. God Almighty is to be seen in "The Green Pastures" as He is imagined to be in the minds of His Negro children. A fatherly colored Man In a Prince Albert coat, he superintends life upon "the meanest of the planets," giving admonitions to Adam and Eve, Cain and Abel, the drunken Noah and his flock, Moses and the stubborn Pharaoh. His private secretary is Gabriel, a Harlem hornblower, and the dark angels who clean his office wear aprons upon their wings to protect them from dust. As the Creator, descending to earth to look things over, passes two pickaninnies, playing behind a bush, he says: "Howdy, children?" and they reply "We'se O.K., Lord." TREMBLED WITH FEAR Being the offspring of a rigorous Presbyterian family, I was reared In the belief that God was a cross and fearsome old fellow, with long whiskers, seated in flowing robes upon a golden throne and addicted to scolding those who displeased Him.

So I trembled the other night when at the celestial fish fry in "The Green Pastures," the master of ceremonies cried "Gangway for tiu ivfci.J i I practically the most sought-arter j' "leading man in the business. It was said that speech brought out his I 'personality. For a time it was even rumored that his was "the screen's i most perfect voice." In any case. 1 ha has been continually lent to and borrowed by every studio in the vl-j'cinity. This lias kept up for two 'wars and now Mr.

Nagel feels ne ha earned a rest. 1 Upon the immediate completion of Norma reproduction of Mme. Du Barry's life, Nagel will away to the ereat outdoors to forget for a while the problems of dramatic uplift. One of Conrad Nagel'a most re-teent contributions to cinematic art la the part he plays in "One Ro-; mantle Night," which Is to open at the United Artists Theater Wednesday. This Is an abridged version of Molnar's "The Swan" and stars Lillian Gish In her first talkie.

Nagel to be seen as tne uiior. me i'play the most sympathetic character. About Miss Glsti, he is enthu- clastic PRAISE FOR GISH "The role of tho princess to at best a colorless one, but Miss Glsh ha ndowed it with vitality and warmth. Her voice accentuates her screen personality, that wistful. fragile little person we an know well.

As has already been discovered, voices have entirety de- ftroyed the illusion which some ac-Ltors" silent personalities had created. now that she can ee neara. SMlss Gish. I am positive, will be aneciarea even a uner mww wu Conrad Nagel possesses perhaps ne ox the sanest heads in tne profession. He looks on motion pictures George Fawcett WiH revivify "The Great John Ganton" he has played It before at the Vine-street Theater tomorrow evening.

He thus becomes an actor-aienajer,.