Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-01-11

PRODUCER or OBJ viv;eDre seraI
erVer T h
background of haunting music APP
pears without the effect of intrusion,
the populace on street or in hall is
in evidence at Just the moments to
emphasize the genuine plot that is
involved, and the actors, several of
them screen artists who can sing,
are able to unfold a tale extending
through three generations without
any conscious interruption in time.
Vivienne Segal, featured member
of the cast, is to be seen both in
Photographic likeness and in person,
for she has an important place on
the stage program at the Earle for
the week, and the double offering is
of value not merely because she is
present as a performer, but because
her attractive singing voice may be
heard both in the reproduction from
the studio and later with the setting
of her own recognized personality
in a group of compositions which is
more fully appreciated than the Sc
lections made by mechanical means.
Among the songs in "VienneSe
Nights" which will be remembered Is
the theme Of the play. Don't Let
Our Love Song Die" while another
which achieves popularity is Wien
na." Delicate coloring of the fllm
is a factor in its impressive quail
tiles.
1t is particularly to be empha-
sized that in representing several
ages from youth to the period of a
grandmother, Miss Segal retains a
natural charm which even grows
stronger as the flight of the years is
represented. Walter Pidgeon's i'm
portant masculine role is filled with
distinction and his work adds to the
emotional character of one of those
rare offerings of this type in which
there is a thread of real sentiment.
Others who are well cast are Louise
Fazenda, Alice Day, Jean Hersholt,
Alexander Gray and Bert Roach.
Playing by an orchestra that gives
reality to the symphony on which
the plot is built is reproduced in a
strong scene involving the play OF
emotion among the leading charac-
tiers.
The stage program, headed by Miss
Segal and introduced by Miss Max
inc Doyle, includes a list OF per-
formers notable for effervescence
and ability to entertain. Sight fea-
lures by the -Four American Aces
and Queen are worth while and
the comedy provided by Nash ana
Fately, Leavitt and LOCKWOOD, Her.
bert Kingsley, Eddie CasSell, Fred
kaufman and Galy Neil is contin-
uous. The newsreel has the latest
subjects. u. Z. y.
One Heavenly Night"
)pens at the Palace.
THERE is no question that zone
Heavenly Night" the new Cold
wyn operetta shown at the Palace,
NAV be popular here and there. But,
in spite of the book, which has been
put together by Sidney Howard and
Louis Bromfield, and music by Mr..
Brown, and the slender and blonde
Miss Lave, and the full-voiced John
Boles. and the drole Leon Enrol, this
is certainly not one Of the best OF
the screen romances.
Perhaps the vogue of stories about
cabaret girls who marry princes mas
fallen into the sere and worn. Per-
haps the acting is not quite what 1t
should be. But one thing Is certain
the music Is not up to the standard
that should have been set for the
leading players.
Miss Laye. in fact, deserves better
than this. Not only Is she a singer
as those who saw her in Bitter
Sweet" last Winter in New York
know-whose excellence is not ex-
aggerated, but she has a great deal
of beauty-and neither of these has
been treated too kindly by the screen.
Miss Laye sings-but only rather
patchy love ditties into the unen-
raptured face of Mr.. Boles, who has
never been able to make love scene
exciting yet. In fact, these two to-
gether. handsome as they are, con-
tribute the most eXpressionleSs lovers
seen for some time, and one hopes,
indeed, that some day some one will
teach Mr. Boles to do other than
open his mouth to express all and
sundry Wcissitudes.
Leon Enrol has a typical Enrol
role, which gives him chance TO
fall down and drink too much. He
is funny occasionally. The others,
even the splendid Lilyan TaShman,
amount to very little.
On the stage, Allan Rogers guides
brother actors through a swift show,
entitled Keep Moving" Prominently
featured In this are Stan Kab-
vanaugh and Chester Fredericks, and
other things on the program include
a dreary Charles Chase comedy,
newsreels and incidental shorts"
e. de S. M.
Ruth ChattertOn Plays
Three Roles at Columbia.
p UTH CHATTERTON about runs
N the gamut of human emotions
with a INDEPENDENTLY part, In "A
Right to Love-" this weeks feature
at Loew's Columbia.
Although the play is decidedly de-
pressing it is never sordid and de-
spite the fact that one Is conscious
that the story, as whole, couldn't
be true" it gives Miss Chatterton a
wide range to demonstrate her tall
ents as a dramatic actress. She has
FIRST the part of Naomi as a young
woman, then Naomi 20 years later,
when she also carries the role OF
Brook, Naomis l8-year-old daugh-
ter, and one is amazed at the widely
different personalities which the ac-
tress lends to her characters.
In the first part Of the play. one
has the feeling that Miss Chatterton
is too old for the part OF Naomi, the
young woman. However, as Brook,
IIle lo-ycdT ~DlQ OduEIlbcIs bic 10 Sul
prisingly youthful, and leaves the
spectator marveling at her ability
to age and rejuvenate herself so
completely
The tricks which have been played
with the camera rise TO the heights
of cinema skill, and the manner in
which Ruth, as the mother, en-
braces herself and talks TO herself
as Brook, the daughter. brings for
the nth time the realization of
cinemas magical powers.
Although "A Right to Love" is,
above and beyond all else Ruth
Chatterton's play, the other charac-
ters, who appear for brief intervals,
are well cast and adequate.
The beginning of "A Right to Love-
tells the old story of a young girl