Evening star., 1928-09-10
OPENING ATTRACTIONS IN WASHINGTON
THEATERS
THEATERS

| legger!" the smack of the lovers kiss
in Central Park, the night club master
| of ceremonies and the music of the
Biltmore Hotel Orchestra are all SO
realistic that one imagines himself in
New York rather than sitting in a
Washington theater.
The plot is familiar old one-two
Cor rather three in this case) young
persons going to the city to escape the
monotony of small town life, failure in
business, falling in with bad company
and barely escaping death or ruin, the
lecture by more experienced ones to 90
back home and the fade-out of the train
whizzing back with the hero and the
heroine to "the trees and the flowers
and the mountains"
Cullen Lands and Eugene Palette
appear as Eddy Morgan and Gene, the
barber in Eddy's small town hotel, who
are trapped by two confidence men into
buying a barber shop in New York,
which is really storage place for Hawk
MillerS wheeler Oakman) Old Gen.
tury. Without intention of sighting
Cullen Lands, whose impersonation is
highly commendable. Pallette'S char
acteriZation of the barber is so realistic
as to make one wonder if perhaps he
we're not a barber before becoming an
actor Helene Costello is cast as Kitty
Lewis. Eddy's sweetheart. who has come
to New York and succeeded 90 as
night club entertainer in Hawk Miller's
cabaret. Gladys Brockwell does excel
lent work as Molly Thompson Hawks
companion: her voice carries we'll and
her histrionicS are convincing. Mary
Carr is cast as Mrs. Morgan, Robert
Elliott as Detective Crosby. and Tom
Dugan, Tom Mcclure, Guy D'Ennery,
Walter Percival and Jere Delaney also
appear in the picture.
Completing the program are an excel
lent news reel and two Vitaphone short
subjects, Beniamino Gigli, tenor of the
Metropolitan Opera. in act II, from the
italian opera, La Gioconda," and Dick
Rich and his "Melodious MonarchS."
COLUMBIA-"Tempest."
In Tempest" at the Columbia this
week. the spark of Barrymore's genius
is whipped into flame and the fascinat-
ing scion of fascinating actor family
gives us perhaps his greatest, most
colorful movie venture to date.
For Tempest" is not merely a great
picture. it is a great personal triumph
as we'll 1t is proof that the stars
acting is as glorious as his profile and
not dependent on it: that it doesn't
matter which cheek he turns so long as
he gives a portrayal as astonishingly
virile. as sweepingly powerful and as
amazingly subtle as this
But to say that John Barrymore at
the height of his career is almost out
witted by lovely young actress at the
beginning hers. is little short of aston
ishing. Yet Camilla Horn, the leading
lady, young, charming, and beautiful
reveals dramatic power and an emo
tionar capacity that is arresting. Her
first American picture, with only one
German triumph-as Marguerite in
"Faust"-to her credit, Fraulein Horn
proves to be the sensation of the recent
foreign invasion. Hers is an amazing
loveliness coupled with genuine his
trionic sense, Wilma Banky repose and
a Pola Negri fire. Here is indeed a
promise of great things.
But the brilliant performance of the
two principals fails to dim the abilities
of the rest of the cast. There is
ribald humorous bit by Louis Wolheim,