The midland journal. (Rising Sun, Md.) 1885-1947, 1939-07-28


~ of men of achievement may
and often does-lie the favoring ele-
ment of chance, frequently recog-
nizable. But often, too, it is hidden
in a vague background of contribu-
tory factors.
In Jascha Heifetz's agreement to
appear in forthcoming motion pic
Way Snnoothed Goldwyn's pow
For Success of ers of persua-
Sans Exploit SON. sion once &c again g,s,l,,
of his rivals and the admiration of
his friends. The eminent violinist' s
personal aversion to the screen as
medium of expression has long
endured in the face of repeated Of
fers. Mistrust of sound track repro
duction of the notes of his beloved
violin was joined with his repug-
nance to the elemental music he
believed he would be called upon to
play and, above all, was his objec-
ton to strutting the screen as an
actor. So Goldwyn's success in
overcoming the great musicians re-
luctance is now being proclaimed.
Yet, lying back of Heifetz's
name ON the dotted line of
Hollywood contract are various
imponderable factors. His wife,
for instance, who was Florence
Vidor of screen fame, may have
been the influence behind his
first appearance ON any stage i'm
q histrionic capacity. This was
last spring when he took the role
of hill-bilIy fiddler in the an
nual show of a sophisticated
midtown club, of which he is a
member. CARRIED in Overalls,
cotton shirt and red wig topped
by a broken down straw hat he
played Turkey in the Straw"
violin upon his knees. as the
time-h0n0red jig tune has never
before been played. And for an
! encore there was Danny Boy"
So who can say that the siren
voice of Sam Goldwyn was not mere
1y the tanning of a flame lighted
when, with gusto and amid wild ac-
claim, he sawed violin lying across
his knee?
Born in Wilma in 1901, Heifetz's
American debut came in October,
1917. An American citizen now, he
lives in Redding, Conn.
Sam Goldwyn it was who lured
Maxine Elliot to the screen back
in 1917 and she was but prede-
cessOr to such exalted artists as
Geraldine Farrar.
pAUL ROBESON'S magnificent
bass voice will have adequate OPP
portunity for expression in his por-
trayal of the title role of Sam
Byrd's forth
Bishops Plight coming produc-
Altered Aim of ton of play
Paul Robson aa s. Dy tne
Roark Bradford's John Henry sto-
ries. There will be incidental music
by Jacques Wolfe.
One often marvelS at events,
apparently casual at time of oc-
! currence, which are found sig
nificantly to have affected hui
man lives and so shaped desti-
mics. When Paul was a senior
at Rutgers, where he had won
high scholastic honors and
gained for himself a national
reputation as a football end, he
was looking toward the cloth as
q profession. His father was a
clergyman in a small communi-
ty in New Jersey and, from boy
hood, RObeson's idea had been
to follow in the paternal steps.
Not long before graduation, the
elder Robson died and among the
funeral arrangements was plan
to have the presiding bishop of the
church conduct the obsequies. Ac-
cordingly, the prelate came to the
scene Of the funeral from his home
in a village in the southern part Of
the state and after the services he
addressed the assembled mourners
substantially as follows:
brothers and sisters, / had to
borrow the money to come 10 this
scene of sorrow and unless you all
contribute to defray my journey
home, ! am afraid / shall have to
walk"
Whereupon, of course, the neces-
sary travelling fund was raised. Aft
er q while the bereaved son met
the late Foster Sanford who was
his football coach, his guide, mentor
and friend.
''You are still headed for the min
istry?" Sanford asked.
Eyes sir" was the reply. II still
am, SIR"
ssThe highest you can ever get
to be in your church is a bishop,
isn't it?" Sanford asked and
when Robson said that was
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