Evening star. [volume] (Washington, D.C.) 1854-1972, 1924-12-14

wood was an internationally known
motion picture star was no great
lure. The arts OF screen and stage
are not Immediately interchangeable.
The success OF Mary Pickford in the
Belasco production of The Good
Little Devil was not striking, which
was lucky for her, as a great hit in
drama would have prevented her
from reaching such unchallenged
supremacy in the more pecuniarily
responsive films.
x 4 ::
|. Theda Bara. irresistible as a cam
era star, could not vamp effectually
when burdened with dialogue, and
of recent memory, Flora LeBreton
in Lass OLaughter," undeniable in
charm, gave evidence that her sue
cess in studio hindered rather than
helped her method OH the stage.
When a skilled and experienced
press agent confesseS SO frankly a
state of uninformation the reviewer
may be excused if ionally he re-
vcals, under stress of rapid work
manship, a lack of searching and
intimate knowledge of his subject.
Belasco has been a fighter all his
days and the success OF this latest
play represents, IN some respects,
the most important triumphant Of
his brilliant career. The ancient
enmities which he has never wholly
conquered were quick to take ell
couragement from the adverse conf
ments on the salacity of The
10 -
thrill by radio with the admonition
that Mr.. Belasco was no more
power, but had become jest to the
present generation worthy to be
target for any impudent slapstick.
He asked no compliments i'll advance
and made no protest against attacks
leveled at him fairly enough in dis
cussing the improperly of "The
Harem," but most unfairly on lines
of uniformed personal attack.
X r *
The first act OF Ladies OF the
Evening" continued on the mental
plane OF "The Harem" In perspec-
tive the Avery Hopwood play is like
prologue browbeating an audience
with the weapon of laughter into
submission to brutalities Of thought
and fancy that compelled a partial
abandonment of self-respect AS
this new play developes from an ap-
parently trivial suggestion, there is
launched fierce attack in serious
terms upon human pride and upon
sociological traditions of pitiless con-
tempt for those who, SHINING least,
may have to suffer most. The scene
from the clubhouse windows open
ing the play was an assertion Of that
cheap synicism which inspired the
ancient bet among men about
town concerning the fallibility of
feminine standards. The succeeding
scene is one of such utter degrada-
ton that the possibility of attempt
ing climax beyond it could be con-
templated only with acute apprehen-
sion. To pursue the theme as COM
edy could only convey the impress
sion of the lapse into uncompromis-
ing viciousness of a career distin-
guished for SO much love of beauty
and SO much courageous endeavor in
sheer idealism.
A German philosopher invited his
friends to go with him and see the
rainbow and smell the perfume of
the flowers. He led them not into
the dewy meadows, but into coal
mine and smiled as they stumbled
through the darkness with hurt and
wearying feet. They returned to his
laboratory and they said. Where is
our rainbow and where. are our
fowers?" He showed them piece
of coal tar. They were grieved. He
had never before deceived them.
"Wait!" he said. From his shelves
lie took many beautiful dyes and
exquisite perfumes. These" he
said, "are what the coal tar has
yielded; beauties easily made known
to the world by the hand of skill;
but first discovered only by patient
toll alone and in the darkness"
For those who chose thus to view
this play it was revelation of the