The Kansas City Star from Kansas City, Missouri • 78

A A A A A A A A A 18 THE KANSAS CITY STAR. SUNDAY. SEPTEMBER 18. 1927. The Pantages and the Royal Offer Two of the Screen's Finest Efforts This Week No Theater Goer Should Miss the Rabelasian Realism of "What Price Glory?" or the Gripping Drama of "The Way of All Mainstreet Presents Rod LaRocque in "The Fighting Eagle," a Spirited Tale of a Napoleonic Adventurer-Lew Cody Is Said to Make "Adaor and Evil" a Sparkling Affair at the Newman and the Duncan Sisters Romp Through "Topsy and Eva" at the The Popularity of "The Cat and the Canary" Holds It a Second Week at the Liberty.

Price Glory?" There will always be considerable discussion as to whether "What Price Glory?" is a greater picture than Big Parade." By that you know how fine a picture the film at Pantages is. To those who judge the value of a film by the amount it costs them to get past the doorman, it might be well to state that "What Price Glory?" was booked into the Shubert last season at a $2 admission, and that its failure to play in that house was due to the return engagement of the other war picture late season, St. Louis paid $2 to see "What Price Glory?" and liked it, as did other cities. But there are many more reasons for us to urge your seeing "What Price Glory?" than because it is a bargain. It is one of the stage's most realistic dramas given with a realism the stage could not hope to approach.

In "What Price Glory?" one does not see soldiers marching so much as one marches with them and one does not look at battles so much as one fights in them. Unlike "The Big Parade," this is the story of the professional soldier. There is little of the heartbreak of the bewildered boy suddenly transferred to the battlefield. Captain Flagg and Sergeant Quirk are marines of the sort who would stick a bayonet in the kaiser and be run over by 8 German tank all for $30 a month. War is their dish.

They've fought through the Philippines, up and down the China coast and France is just another branch office, of the San Diego arsenal as far as they are concerned. There are too many private enterprises to occupy their attention, girls in particular. Captain Flagg and Sergeant Quirk are both warriors. It is their job to take trenches, their pleasure win girls. In the former activity they are partners, but in the latter they are not only rivals but enemies.

Particularly do they hate each other after they meet Charmaine, the pretty daughter of "Cognac Joe," who runs the wineshop in the town where they are billeted. Charmaine has a heart that can include a regiment and a character that develops its own philosophy through the brisk contacts of the war. Dolores Del Rio in this part gives it an added quality it lacked on the stage. She does not attempt to whitewash the character to meet the approval of. peace-time moralists, but she gives strange spiritual quality that shines, none the less brightly because of the muck of her surroundings.

Charmaine, as Miss Del Rio plays her, is a provincial girl overwhelmed by the sheer masculine beauty of these fellows who pass, so dazzling in their strength, but who go down the shell-torn roads that lead to unmarked graves. Because she loves many she loves them none the less sincerely, and each stout lad that she mourns she mourns sincerely. But they march away and never come back, That's the One cannot always be mourning. There war. are other stout fellows to be comforted and to embrace Charmaine with the image of a girl at home in their hearts.

And so where many could have seen nothing but the muck, the toil and the tawdriness of war, Charmaine, the daughter of "Cognac Joe," caught something like a vision from the bright of courageous men along the road eyes to the Argonne, Those who saw Miss Del Rio as the heroine of "Resurrection" need no argument to convince them of her ability, but even they will be surprised at the ful she grace- way handles this role. Victor McLaglen plays the part of Captain Flagg, the "leatherneck" officer who has the annoying problem on his hands of fighting a war with clerks and schoolboys. He's hard boiled egg, is Capt. Flagg, the sort who expects legs to keep on going when backs cry out for mercy, but he puts over his job by sheer bullof dog faltering courage, listening to the whimpers boys one moment and spurring them on the next. He is a profane, roistering and lovable soldier and you forget he is an actor playing a part as you watch him.

Edmund Lowe is cast as the equally amorous sergeant. The sergeant is a "smart guy" who has a way with women. When he was in Spain "the king had to put an ad in the paper asking for the return of the queen," and when meets Charmaine he and Flagg have their own private war. rivalry of Flagg and Quirk is a realistic" affair discussed in a straight doughboy lingo. In the course of "What Price Glory?" you will see oaths on the lips of the actors and sometimes read them on the subtitles.

You will see crude humor and frank ways of living. If you have a trace of the wowser in you you may consider it a terrible affair. But if you have a sympathy for the men who lived with chaos and death as no men had lived before, you will find a tolerance for their inevitable mode of life, and "What Price Glory?" will be a great picture with a great message to you. Way of All Flesh." Jannings has been proclaimed often and with reason the screen's greatest actor. His characterizations have ranged from kings to acrobats, from a hotel doorman to the himself and have always been ingenious and powerful.

In Germany, ognized as a Thespian excellence and Jannines, was recwas given every opportunity the a resources of the Ufa studios could afford. is a bit ironic that Jannings should come to America and surpass, all his previous efforts. Yet what has has done in "The Way of All Flesh," his first picture for Paramount. "The Way of All Flesh" is big in intelligence, in artistry and in human appeal, though it has no thundering mob scenes, no monster settings and the star does not wear the trappings of a historical character. fact, the story is cast in the simplest of molds and the most intimate of settings.

But if it is greater to know the mind and understand the soul of one man than to see 5,000 men marching up a hill, then this picture should be numbered among the screen's greatest achievements. The story concerns one August Schiller, cashier of a German-American bank in Milwaukee. Schiller is a pompous, frugal fellow whose joys are disciplining the clerks, bowing to the boss, and bowling at the local Turnverin. His prides are his beard and his family, The former is A Jovian appendage that is towsled as an English sheep dog when he awakes and serene and dignified as a Hebrew patriarch's when he is about his business. August is a kind and indul- THE MAN IN THE STREET.

WALTER DAlEY 27 A character study of Emil Jannings in his superb characterization of August Schiller in "The Way of All Flesh." This extraordinary photoplay is at the Royal this week. Doyle's novel, "The Adventures of Girard." which should recommend it to those who like fast moving love stories. In addition to Mr. LaRocque, the cast includes Max Barwin as Napoleon, Sam DeGrasse as Talleyrand, Julia Faye as Josephine, Sally Rand as Talleyrand's mistress and Phyllis Haver as the girl in whom Girard sees all that is beautiful and wonderful. Miss Haver is very much on our screens this "What Price Glory?" she is the startling Shanghai Mable, in the "Way of All Flesh" she is the purring vampire who leads a man to his destruction, and in "The Fighting Eagle" the glamorous beauty who inspires a man to brave deeds.

and Evil." Having started out by giving three rousing cheers for the picture at Pantages and lighting bonfires on the hill tops for the one at the Royal it seems that one may as well see the thing through and look on the happy side of everything that comes to town this week. We have not seen "Adam and Evil," but we have heard good reports on it. It was originally planned as the opening attraction at the new Midland theater here. But the construction took time the producers were reluctant to hold a good picture up in our enterprising and deserving community, so it is now at the Newman. This is the first of a series of pictures starring Lew Cody and Aileen Pringle as a comedy team.

It is one of those little domestic comedies into which Mr. Cody fits SO nicely as the erring and affable husband. This story concerns twin brothers. One is wild and single while the other is married and would like to be wild. The arrival of the twin to his town enables him to cup up all sorts of high jinks and blame them on his brother.

Then comes a series of escapades and mistaken indentities that keep up until the plot is as humorous and as logical as that of "Charley's Aunt." In addition to Mr. Cody co-starring with himself in the dual role, and Miss Pringle, there are several other players in the cast. Gwenn Lee, who was seen here last week as Norma Shearer's golddigging sister, wasn't improved a bit by having that motor car turn over. She's 3 gold-digger in this picture. Roy D'Arcy, Hedda Hopper and Gertrude Short are other farceurs.

and Eva." While another theater is playing "Adam and Evil," the Globe might well gent father and it seems nothing can disrupt his smug existence. But August Schiller's bank him to Chicago to dispose of some bonds. On the train he meets a glamorous, golden creature with a laugh that is too loud and eyes that are too sparkling. The men in the Pullman smirk when they look at her, but she is life and experience to August Schiller. They make a date and she induces him to have his beard shaved off when they reach Chicago.

Shorn of his beard, his outward sign of and righteousness, Schiller is a grinning, fatuous buffoon. After a loud and brawling celebration he awakes to find his bonds stolen and himself faced with disgrace. He seeks his betrayer and is beaten to unconsciousness by her associates. They rifle his clothing and place him on a railroad but. regaining consciousness, he attacks one of his a savage slugging fight knocks the man under the train.

wanders Through the streets aimless, of aching Chicago. days Finally he he goes to the river in the hope of explating for his sin against his family his associates. A bit of paper floats on the tide. It is a newspaper account of how August Schiller, a bank cashier of Milwaukee, had been murdered by thugs and had died defending his trust. Schiller's honor had been saved but he must never go back to the home he loved or the smug comfortable life he had fitted into so nicely.

Life from then on was aimless. Through weary years he gathers trash in the summers and sells chestnuts in the winters on the streets. The summer is kind for then his faded and watery eyes may watch the children in the parks while his mind goes back to the lost family. One day he sees his own name on a theater. His son, August Schiller, is a great concert violinist.

With his gnarled hands clutching the rail of the topmost balcony, a battered old derelict hears the sentimental strains of the German lullaby taught the boy years before. He follows the boy home to Milwaukee. His shambling figure slinks up an alley and he peers into his own window. He sees his to splendid manhood and womanhood." He sees his memory respected and wife happy with their children. August Schiller's life has been a success after all and without revealing his identity he goes away.

Mr. Jannings's acting beggars description. His walk can denote a smug satisfaction, his thick hands can tell of groping thoughts, his smirk can be high comedy and his eyes can reveal the torments of a conscience-stricken soul. Jannings proves that a great actor can find a greater medium in the screen than in the stage. In this picture Jannings escapes from the artificial climaxes and forced scenes that are the theatrical necessities of a story divided into acts.

In this picture the actor gives a splendidly sustained performance that simply grows through a variety of incident until it absorbs every attention. There have been some reviewers who quarrel with the ending of the picture. Notable among them was John Cohen of the New York Sun. Mr. Cohen accused the scenes where the father peers in the window at his family as being maudinly sentimental.

This seems to be an evidence of the critical tribe's over zealous harpooning of all sentiment in the interests of maintaining their own sophistication. The ending seems to us entirely consistent and in good taste. August Schiller was filled with the sentimentality that marks many Germans. He could not whip his little boy when he deserved it and he wound up his lecture to a peculating office boy with a tip. It seems more logical that such a man would go back to peer in his windows than that he woudn't.

Schiller's sacrificing silence is played with fine restraint, and who can deny him the happiness of discovering his sacrifice to be worth while? "The All Flesh" be your story or mine. Its might be our homes, and our families might be its characters. It is unsuspected drama mute tragedy one reads in the eyes of that walks past us on the street a and the old men. It is the screen's most poignant drama. Fighting Eagle." The plot of "The Fighting Eagle" is laid in the days when Napoleon was working hard to roll up a record that would compare well with Mussolini's.

It concerns an intrigue between the Corporal and Talleyrand, but only a small part of the action depicts affairs of state. The major portion of the story deals with a young braggard named Girard who becomes involved in the mesh of world affairs and' who dismisses his problems with -sure aplomb. Rod LaRocque is cast as this dashing fellow and should make a good -job of it. The part abounds in that adventurous type of humor with which Mr. LaRocque is endowed.

Our guess is that the picture will be vastly entertaining. The plot is from Sir Arthur Conan TOPSY AND EVA OUT LOOKING FOR MORE ROYALTIES. HIP PIDO After sharing in theater profits and the returns on sheet Duncan make their music and phonoit graph in the records the We Sisters will sce the two comediennes show give till it hurts by presenting movies. at the Globe this week. The Campaign of Hollywood Offers Trials for a Movie Napoleon A Gulliver at the Camera Capital Visits "The Fighting Eagle" and Dis covers Strange Goings on While the Little Corporal Is Routed With Laughter and His Minister Considers the Seasonal Shape of Legs, you don't mind putting on some socks," said Vilmy Banky, "we'll go over' to Talleyrand's house and see That' future surprised us.

hoosband." Could it be we were forgetful? We cast a hasty glance at our ankles. Everything looked all right. We glanced at the lovely lady in the circus rider's costume. Could it be she thought we were wearing brown silk puttees? Oh well, Vilma's De English still was flavored her native Hungarian goulash. Perhaps we didn't get her right.

"Why," we replied, "we'd think nothing of that. Let's run over to Talleyrand's by all means." So we left the circus setting where Vilma was scenes for "The Magic Flame," crossed driveway, and slipped through the sliding door of what looked like a big warehouse and which housed the settings for "The Fighting Eagle." Talleyrand lived in a glass house, or rather a house of looking glasses. There were mirrors everywhere, little ones in the lids of make-up boxes, long ones standing in frames, a fine one over the mirror, and even the hardwood floor was polished to a high reflection. We found the great statesman hitching up his trousers. "You have to have a lot of mirrors around," he explained, "when you do a costume play.

In modern clothes we feel sure of ourselves. No one thinks of looking to see that his trouser cuffs are right. But in these short pants operas you have all sorts of worries." Mr. Talleyrand toe like a dancing master. "There's the matter of calf pads," he explained.

Our native wit came bubbling up. "The padded calf substitutes for the fatted calf," we threw in as a contribution to the conversation. Talleyrand had evidently heard better jokes. "Not at all." he said. "In the eighteenth century there was a style in legs.

In spring and summer were supposed to be slender. In autumn and winter they were stout and the calves were bulging." "Take off those tendons," shouted a melodramatic voice from the other side of the setting. "I know you--you are Sam DeGrasse." Mr. Sam DeTalleyrand turned around to regard a lithe young man in a blue uniform covered with an impressive collection of gold braid and tassels. "Hi, Rod," called Sam.

Vilma grabbed our hand and started in the man's direction. "That is he." she said, and it sounded quaintly foreign to hear English pronouns used correctly. We started across the bright yellow floor. "Hey, Vilma," demanded a ruddy tache, "how about your socks?" faced little man with a wisp of musVilma made a pretty moue'. "Ach! I forgot." But the man with the mustache hadn't lost his temper.

He signaled to a property boy who came across the setting with two grimy pair of what we used to call "slumber socks" back in the brave days when slept on the sleeping porch. we noticed that everyone was wearing them including the director with the mustache. Two energetic stagehands were effacing the dust marks of our shoes on the floor. Evidently the director didn't want Talleyrand's house to look as though he had been entertaining the gardeners. Vilma steadied herself on our shoulder as she drew on the socks.

"He is Donald Crisp, the director," she explained. The tall young fellow was crossing the setting. His brilliant uniform terminated in the same flapping socks. Vilma made the introduction. "This," she said, pointing to us, "is the Jack, and this," she patted Rod's uniform, "Is the future hoosband." We let the adjective pass without comment.

Mr. LaRocque was sociable if nothing else. He introduced Mr. Crisp, Phyllis Haver bobbed over and last of all came Napoleon. Napoleon was played by an actor who named had Max devoted Barwin.

He was a European much study and considerable prayer to landing the part and was willing to talk of it to everyone. "Why do you think Napoleon kept his hand, in keep his from vest?" he carrying asked. a muff," Phyllis. sug. gested Barwin.

"Napoleon released his "Ah--these Americans," shrugged Mr. through didn't his face and his eyes. His figure energy -he think of. His officers wore tight clothes and he wore loose selfish swine," commented Mr. LaRocque, breathing gingerly in a pair of skin tight cavalry breeches.

"Napoleon put his hand in his vest to keep from having to hold it--Napoleon he thought of nothing but his eyesNapoleon- Rod motioned us away. "We all retreat from Napoleon," he ex. claimed; "he fights with Mr. Crisp was ready to take a scene. Rod climbed to a balcony and the Talleyrand took a position at a desk movie beneath.

The cameras ground while the dashing hero leaped on the statesman's shoulder and they sprawled on the floor. The scene had to be done over several times. It was a leap of about twelve feet but neither of them objected to the repeats and neither used doubles. Sally Rand, erstwhile of Kansas City, came running up. If you wonder what became of Sally we can tell you she was last seen wearing a red wig through the life of Napoleon.

Miss Rand looked quite chic her gown of the Empire. "I'm Talleyrand's steno," she said. "I'm the indirect cause of the Battle of Waterloo. Look me over." That would have been easier if Miss Haver had not been given competition at that moment. Miss Haver has a manner of clowning that does not take personages into consideration.

Just now she was behind the grave Napoleon with her hand thrust into her coat was marching along behind the unsuspecting emperor. Now and again he would pause and glare ahead of him while "fighting with his eyes" and on each occasion she would rare back and batt her eyes with a Lorelli Lee expression that was priceless. The studio orchestra began to play the "March of the Marionettes" and still Napoleon did not become conscious of this rear guard action until the extras began to Join in the laughter. Suddenly he turned with a startled gesture and retreated amid the general uproar. Now Talleyrand had been leaped upon until he was limp and unconscious.

"Now, Rod," called the "you pull down the bell cord and tie him with it. Then you hide him in the chest." A stage hand beyond the camera lines was told to hold the other end of the bell cord. He was cautioned not to let it come down too easy. On the first rehearsal he entered into a conspiracy with some of his fellows. When the hero snatched the cord they jerked him off his feet and held him dangling above the floor.

In such a merry fashion passed the afternoon. The cameras clicked now and then. Talleyrand was finally bound and flung into the chest after which Rod attempted to induce everyone to sneak away and leave him. However Mr. De Grasse was not too trusting and fell to thumping on the lid of his prison almost as soon as he was in it.

It was that way on subsequent days when we dropped in to see this company. They seemed always interested in something, and that something was not Napoleon Bonaparte. Sometimes it was Lindbergh, again it was the Kelly case, or it might be the fortunes of the ball teams. Everyone was interviewed that came on the set, and there were frequent couriers dispatched for food, refreshment and newspapers. "Don't you find this kidding interferes with your work?" we asked Mr.

Crisp. That canny Scot smiled shrewly. "Noo," he said. "Quite the contrary They are so pepped up they take twice as many scenes and work later than any company on the lot." call its production "Eva and Evil" on the strength of the deviltry turned up by Rosetta Duncan as Topsy. "Topsy and Eva" is more or less literal translation of the' popular musical comedy to the screen with the sisters, Rosetta and Vivian Duncan, in the name parts.

Those who read the account of Harriet Beecher Stowe's writing of "Uncle Tom's Cabin" in the American Mercury will wonder what that good lady would think of the jazzed-up version of her book as presented by Rosetta and Vivian. Judged by standards unheated by propaganda, the inspired Harriet was nothing but a bang-up writer of melodrama. Today she would either be doing choice bits for the tabloids or the scenarios of serial movies. As she wrote everything with exaggeration her comedy is the most extreme type of knockabout farce and the Sisters Duncan are probably right in considering that the only part of the story worth keeping for modern entertainment purposes. With that opinion fixed, they start their farce where Harriet left off.

Here it is not Eliza but Topsy who crosses the ice, and Eva does not go to heaven, but is reclaimed by the use of an asafoetida bag. The picture should be good farce if the sisters register as well on the screen as they do on the stage. Of course the piping melody of "Remember" and the boisterous rough house of "When It's Sweet Onion Time in Bermuda" will be absent and will be sadly missed. The stars will be assisted in their clowning by Gibson Gowland as Simon Legree, Noble Johnson as Uncle Tom, Myrtle Ferguson as Aunt Ophelia, Nils Aster as George Selby, Henry Victor as St. Clair and Marjorie Daw as Marietta.

Cat and the Canary," During the hot weather of last week so many people stepped into the Liberty to let cold chills chase up and down their backs that the management has decided to hold "The Cat and the Canary" a second week. The picture is a carefully made screen version of the play that filled the theaters all over the country with shrieking audiences and in some respects the screen has been the preferable method of telling the story. The suspense is maintained throughout the picture's several reels yet the final summing up of the circumstances is plausible and requires no amount of brain fag to make it understandable. We have seen few pictures where direction, acting and camera work were as nicely applied to the subject at hand as they are in this one. Everything contributes to the atmosphere of nervous mystery and the foreboding of sinister adventures.

Each member of the cast is well placed in his role and the actors are never permitted to get out in front of the story. Laura LaPlante is the good looking heroine, Forrest Stanley and Arthur Edmund Carewe do well as the cousins who are suspicious of each other and Creighton Hale is as funny as need be as Paul Jones, the slightly goofy hero. There is a rich gallery of caricature studies in the eccentric performances of Tully Marshal, Flora Finch, Lucien Littlefield, Gertrude Astor, George Siegmann and Martha Mattox. The Tattler Lewis Stone is to play Menalaus in "The Private Life of Helen of Troy." It is a great tribute to Mr. Stone's intelligence as an actor that he is intrusted with the role of that doughty, but bone-headed warrior.

The charming but sad-eyed Dolores Costello is to appear in "The College Widow' for Warner Brothers. Just to give the audience a new type of college story and to allow Miss Costello a moment of graceful sorrow, we suggest letting the other school win the big game. What Christopher Columbus sailed his prairie schooner across the plains to found Hollywood? It was Horace Henderson Wilcox of Topeka, Kas. In 1887 Mr. and Mrs.

Wilcox subdivided an old orchard and began the city that was to be famous. They named the town "Hollywood" because they were trying to make English holly grow there. They were unsuccessful. The nearest they could come to growing holly was to pick the wild poinsettias nearby. William Boyd tells this one.

He says he was working in "Two Arabian Knights" for United Artists with Louis Wolheim. The action called for their falling into a mud-filled shell hole in overcoats and full army equipment. Here, while rain was falling on them and fog was choking them, they had to engage in a slugging fist fight. When the scene had been taken Boyd said he heard an electrician remark: "Gosh, ain't it wunnerful what a coupla guys will do to keep out of going to work?" Robert J. Flaherty is said to have made a new type of movie.

It is a 2-reeler in which the city of New York is the principal character. The picture is said to tell a dramatic story through the movement of masses, though no individual character stands out. Flaherty is to film Frederick O'Brien's "White Shadows of the South Seas" for MetroGoldwyn. -And in the Flesh HIS is the thirteenth week for Walter Davidson's Louisville Loons and Harlan Christie at the Mainstreet, and you can't make a Mainstreet patron think there is anything unlucky in thirteen. On the vaudeville program Douglas Charles and company will present an act combining instrumental music, dancing and gymnasperformances.

Wade Booth, though a clean-cut young man, is said to possess a barytone voice, and Harry Gordan and Manny Groff have a comedy musical number. That's all the musical numbers there are, but Bernie Green is an eccentric dancer and the Melroy sisters also have a nice assortment of taps and clogs. City aggregation has often put a The Marie Kelly, dancers, a Kansas kick in the Newman's revue, are here as a grownup Publix act this week. They have parts in the "Toyland Revue, in which Jules Buffano's orchestra will be the wooden soldiers. Mitzi Mayfair is a dancer whose beauty the management guarantees; Caffery and Miller are a dance team: Frank Hamilton sings and so does "Ginger" Rogers.

Johnny Dove has a dance act. Joe Weber and Lew Fields, who have invaded every other branch of the theater, are now on the Vitaphone. These two German comedians appear in a Parisian cafe, which proves that a German occupation of France would not have been without its lighter moments. Blossom Seely, who with the blond and owlish Bennie Fields is given to packing the vaudeville theaters, is another Vitaphone star of the week. She and Bennie will sing "All the Stars Are "Hello, Bluebird," "Call of the South" and "In a Little Spanish Town." Anna Case of the Metropolitan will appear with the chorus of that organization in a "Spanish Fiesta." The Casinos, a celebrated family of Spanish dancers, appear in this number.

Eddie Peabody, the syncopating banjoist of the West Coast, is another performer, and Roselle and Mack, juvenile entertainers of the eastern vaudeville circuits, also have a turn on the speaking movies. PHOTO PLAYS. PHOTO PLAYS. SOUTH SIDE. SOUTH SIDE.

LAMO "THE CALLAHANS and 34th Shows and 3-5-7-9 Main THE MURPHYS" A MARIE DRESSLER, POLLY MORAN, SALLY O'NEIL, LAWRENCE GREY Kathleen Norris's famous best seller, now a great comedy classic, a prolonged howl. The fun is fast and furious. The all-star cast is simply great in this funny, merry Irish stew. Irish enjoy and indorse it! It's a scream! Lloyd Hamilton Comes Comedy-Curiosities-Latest News--Bruce Scenic. LINWOOD 31st and Cont.

2 to Prospect. 11. GILLHAM 31st Gillham and 15c PATSY RUTH MILLER in SYD CHAPLIN in "Painting the Town" "The Better 'Ole" EAST SIDE. EAST SIDE. Ashland "Out of the Storm' 24th and Elmwood JACQUELINE LOGAN, Free Parking EDMUND BURNS, For 500 Cars MONTAGUE LOVE Shows 6:30 and 9 Comedy-News-Special Music VISTA1, Indep.

5:15, and 7:15,9:15. Prospect. BENTON Shows-3, Indep. 5, and 7, Bentos. 8:45.

Charles Murray- Dolores Costello George Sidney IN "Lost at the Front" "Old San Francisco" News Cartoon Felix Komical Kat and News Comedy Coming Usual Admission Gundermann at the Wurlitzer Renee "THE BETTER 'OLE" Coming Adoree in "ON ZE Lew BOULEVARD" Cody, RITZ CLARA BOW. with the Reed "It" Howes Girl, and in Arthur Another Hit Housman 12th and College Shows 3-5-7-9. "ROUGH HOUSE ROSIE' Adm. 15c-10c. Comedy.

"Here Comes Precious." News and Topics. NEW CENTRE GEO. "LOST AT SIDNEY-CHARLEY THE MURRAY FRONT" In 15TH TROOST Continuous. 1 to 11. "STEAMED Comedy- Pathe News.

DIAMOND 'DRUMS OF THE DESERT' 15th and Prospect. with Warner Baxter, Ford Sterling Marietta Millner. Shows 3. 5, 7 and 9 Also "Snookum's Clean-Up" and Hodge-Podge MOZART 12th Shows and -Air 3-5-7-9. Indiana.

Cooled! Priscilla Dean "Birds of Prey" Reel Comedy News and 10c 9th and Van Brunt. ST. JOHN, 10c Nu-Air St. Shows John 3, 5, Asker, MAPLE 150 Shows--3, 5, 7, 9 JOHN Cooled. BARRYMORE MRS.

WALLACE REID'S "'THE BELOVED ROGUE" "THE RED KIMONO" Comedy and Aesop's Fables. 19th A Daring Subject Delicately Handled! EMPIRE-15c, 10c 3:16 6417 to 10:30 Lloyd Hamilton In News "TEACHER! and TEACHER!" "Cradle -Louise Fazenda COMEDY. PARAMOUNT.