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^ne fcmuimc appeal oPTheAll Amciican,, “The Old DarkBouse/ anaAii-Maii:









This Great All- edy-Star Cast!

FIFI D'ORSAY, Roland Young, Guy Kibbe, C. Aubrey Smith, Elizabeth Patterson, Vivian Oak- land, Robert Greig, Cora Sue Collins, David Leo Tillotson, Wallis Clark.

Directed by E. buddy

2 :::: ^ UNIVERSAL WEEKLY .. November 5, 1932

Universal Weekly

No. 695— Straight-from-the-Shoulder Talk by Carl Laemmie, President of the Universal Pictures Corporation

Two years ago I discontinued publishing the Unixersal Weekly which I had been distributing to exhibitors for about twenty years.

I figured that it would be a wise economy, but it proved to be a false one.

Universal has so many important things to tell you that it is impossible to cover them all in regular trade paper advertising.

Universal not only makes twenty-six of the finest feature pictures on the market, aimed at first run and every other run, but it also produces the incompar- able Tom Mix Outdoor pictures, many two reel comedies, several serials, a novelty reel called Strange as it Seems and two newsreels, every week.

Every exhibitor is entitled to know what the world thinks about all of this product, but it would take so many pages of trade paper space to tell it that no company could afford it.

November 5, 1932 - : .. : UNIVERSAL WEEKLY 3

Comes to You Again!

So I have decided to give you the Universal Weekly again, beginning with this issue and continuing every week thereafter.

Only in this way can you be properly posted on Universal pictures as they relate to your prosperity. Only in this way can you know the whole amazing story of Universal's success in the face of the hardest times the world has ever known.

If the truth about all of Universal's product will help you make more money than you have been making; if something we publish in the Universal Weekly helps you to make up your mind about what to book in your theatre and how to advertise it and exploit it after you have booked it; then it will have served its purpose for you as well as for Universal.

I ask you to study each forthcoming issue of the Universal Weekly with the same care and seriousness which we shall use in making it up.

Thank you.

voice on



“How do you do, ladies and gentle- men.”

His face in your lobby

and youWe got more than any other newsreel can give you!



The fastest growing newsreel in the world!

November 5, 1932


Broadway Elects Uniyersal

News awarded the picture a rating of three and a half stars, and others agreed with her.

The business at the Rialto on the opening days averaged almost fifty percent above normal business. It is in for two weeks and possibly three. Saturday rolled up four and a half grand, and Sunday four. Variety on Tuesday morning predicted $22,000. Reviews on page 18 and )9.

The Roxy dis- played this “Once in a Lifetime" illumination and took in sixty thousand grand for new record. "The Old Dark House" went into the Rialto for a run, and opened like a whirlwind.

Opening business at the Roxy was very flattering, indeed. Over $10,- 000 on Saturday, and an equal amount on Sunday, which establishes a new record for the theatre since it re-opened at a lower price schedule. This record is not only for money taken in, but for attendance as well. Double record to the credit of "Once in a Lifetime," which moves immedi- ately into the Fox Brooklyn Theatre.

Variety on Tuesday predicted $60,- 000, with a strong possibility of even more. Here is the way the Variety column opened. The heading reads: "ROXY'S 'ONCE IN A LIFETIME' TOPS BROADWAY—

WOW $60,000"

Here is the way it started off:

"Business generally sprightly on the town's biggest first-run front, with the Roxy for the first time since it re- opened in August coming into the big money.

"With a good week-end also help- ful to the other houses, the biggest 'un among them, with 'Once in a Lifetime,' is taking the hurdles for a nice $60,000, with a chance to beat that. It will be by more than $10,000 better business than the Roxy has generally enjoyed in a long time."

Crowds in front of the Paramount Thea- tre for "The All American" showing. A Christy Walsh radio broadcast was one of the features. At top. Universal’s great Broadway sign announcing "Once in a Lifetime."

Broadway has elected Unlver-

Presidential contests come only once every four years, but the battle of the theatres to elect a product ruler of the Main Stem is a weekly event. Universal has just won this victory.

No less than five Universal produc- tions have enjoyed first runs in Broad- way houses during the last month, and two are repeating. They are "The All American," "My Pal, the King," "Once in a Lifetime," "The Old Dark House" and "Air Mail." "Afraid to Talk" will follow in soon.

First, there was the Tom Mix fea- ture, "My Pal, the King," which played the Globe. Imagine! A western on Broadway, and it packed them in for two weeks.

Second came "The All American" with its glittering array of football stars, and took the New York Para- mount by storm, playing to enthusi- astic houses at every showing. Too, the picture was vastly pleasing to the Metropolitan movie critics, as will be seen by the reviews printed on page 32 of this issue.

"The Old Dark House" got off to an excellent start last week at the Rialto when Irene Thirer, motion pic- ture critic of the New York Daily




A Magazine for Motion Picture Exhibitors Paul Gulick, Editor Published weekly by the Mo- tion Picture Weekly Publishing Company, 730 Fifth Avenue, New York City.

Copyright 1932,

Universal Pictures Corp.

{All rights reserved)

Vol. 31 Nov. 5, 1932 No. 21

6 UNIVERSAL WEEKLY November 5 1932

Armistice Day Suggestions

November llth for generations to come will be a day which will live in the memory of the American people. It is the anniversary of the Armistice which terminated the World War. It is a day which should be signalized in your theatre. It you have not already done so, you should take steps immediately to memorialize Armistice Day. Naturally, you have your own idea of how this can best be done. The suggestions we can make to you have to do largely with the film or films you run in your theatre on that day.

Of course, the greatest film that you could run on that day, and, as a matter of fact, on any other day, is "All Quiet on the Western Front." By the judgment of hundreds of critics this picture is the best moving picture ever made. It would be im- possible, by the expendi- ture of any amount of money, to make a picture more appropriate for Ar- mistice Day showing than "All Quiet on the West- ern Front." Erich Maria Remarque, a German who served through the entire four years of the War in the German Army, wrote the book out of the full- ness of his own tragic ex- perience. As a book, it was one of the landmarks of book publishing. As a picture, it was even more outstanding and more graphic. The screen has far greater opportunity to speak to the soul than has the printed word. "All Quiet on the Western Front" is a soul-searching human document.

It is quite probable that Carl Laemmie will withdraw this production entirely from circulation for a certain length of time and bring it back later. He has many times been advised to do so. Moving picture people, international statesmen, educators, humanitarians, have assured him that "All Quiet on the Western Front" is a picture for the ages. Naturally, he could make more money by withdrawing it and putting it out later with a great advertising campaign. Mr. Laemmie has not done this yet. This year you will have the opportunity of book- ing it. It is an oppoVtunity which you should embrace.

Book "All Quiet on the Western Front" if you have the opportunity and it isn't already booked in your opposition house.

There is a picture which has just completed its first runs, but which is current in all of the exchanges and has established a tremendous reputation for Itself as a builder of character and as a memorial to the American Legion. It is "Tom Brown of Culver." Not only in the United States has this picture met the most laudatory reception;

in England, in Germany, in fact, all over the world, it has been an outstand- ing example of what a splendid moving picture can be. It will be a credit to your theatre to show "Tom Brown of Culver" on Armistice Day, whether you have already shown it or not.

There is no reason why the Slim Summerville com- edies dealing with the Marine Corps and with the Army wouldn't make an appropriate subject to balance your program and to give it an Armis- tice Day flavor. There is no reason in the world why Armistice Day should not reflect the joy which Humanity felt in fhe ter- mination of the War as well as the terrible exper- iences which engulfed the world for four years. These comedies are among the best ever brought to the screen. Whether you have shown them or not, a Slim Sum- merville Marine Corps Comedy would be a splendid feature for an Armistice Day program.

To Help Defeat Depression

CARL LAEMMLE has just employed one hundred men to begin work immediately on two sound stages which will be constructed at Universal City at a total cost of $50,000, it was announced last week by studio officials. The stages will be the final unit in a $150,000 construc- tion program started recently at the film plant.

The motion picture producer ordered the additional construction to give more employment.


Let us have an armistice in the picture business!

Let us all make an honest effort to put an end to quar- reling, suspicion and distrust.

Heaven knows we must withstand enough attacks from outside our ranks without adding to our problems through constant internal discord.

If producers, distributors or exhibitors are indulging in practices which are unfair to any other branch of the industry, let us find a peaceful way out instead of draw- ing outside criticism upon ourselves by tearing at one another's throats.

The motion picture business, although in better shape than many others, is nevertheless facing a battle for existence. The constructive brainpower of every man who earns his living through pictures is needed to build it back into the greatness it once enjoyed.

It can be done if we all pull together, but not in any other way.

Speaking for Universal, I will agree to anything that is fair fair to everybody concerned, because it it is not completely fair it will never bring peace. This goes for contracts or anything else which is causing friction.

Fourteen years ago the world war was stopped by an armistice, but the world is still smarting from its old wounds. Recovery is slow. But it need not be so slow in the case of the picture business.

Peace among ourselves is the first step toward recov- ery. Let's take it!

Carl Laemmie.

November 5, 1932 ■■ . UNIVERSAL WEEKLY ^ 7

Gloria stuart has


In the movies only five months, the brilliant act- ress has played four leads.

And with the recent ac- claim of "Air Mail," in which she had the femin- ine lead opposite Ralph Bellamy, her future in pic- tures is assured. Universal has just signed her to a long term contract, and put her in "Laughter in Hell."

Miss Stuart's rise to motion picture promi- nence has been nothing short of meteoric. A tew weeks ago she was an un- known quantity in Holly- wood. Today she is headed for stardom.

One of the many inter- esting things about Gloria is the remarkable circum- stances surrounding her * picture debut. Before she had ever appeared on the screen, two major com- panies were quarreling over the right to sign her to a contract. And the matter was finally settled by flipping a coin. Uni- versal won.

First noted by Carl Laemmie, Jr., while giv- ing her initial performance in "The Sea Gull" at the Pasadena Playhouse, Miss Stuart stepped immedia- tely into leading roles.

No extra parts and bits tor her. Her very first assignment was a lead.

When James Whale, the director, began searching about for someone able to register fright in "The Old Dark House," Universal's picturization of the J. B. Priest- ley thriller with Karloff, Laemmie, Jr., pointed out the recently signed Gloria Stuart. Perhaps because of her very natural novice's fright. Whale decided that Gloria could do the job. A preview of "The Old Dark House" revealed that the director's guess had been a good one.

On a "loan" to Warner Brothers, Miss Stuart next made "Street of Women." Then came her most difficult role to. date, a heroine lead opposite Richard Arlen in Universal's football sequel to "The Spirit of Notre Dame," "The All American." Gloria not only filmed this picture but at the same time took the lead in Universal's "Air Mail." During her first five-month period in the movies, therefore, a time which most newcomers spend finding

out what it is all about. Miss Stuart played the leads in four major pro- ductions. Because of her outstanding work in "Air Mail," in which she shares stellar honors with Pat O'Brien, Lilian Bond, and Russell Hopton, the little blonde was presented with a Universal long- termer.

"My head swam!" she confessed recently in commenting on her rapid rise to movie celebrity. "Though I was born in Santa Monica, less than 20 miles from Hollywood, the thought of a screen career had never occur- red to me. All my the- atrical activities had been in college plays at the University of California and in Little Theatres in various parts of the state. I appeared regularly in plays presented at the Theatre of the Golden Bow, located in Carmel- by-the Sea.

It was Gilmour Brown, director of the Pasadena Community Playhouse, who witnessed one of Miss Stuart's perform- ances at the Golden Bow and Invited her to his playhouse to play the lead in his production of "The Sea Gull." Curiously enough, Onslow Stevens, who is prominently cast in Carl Laemmle's screen version of "Once In A Lifetime," was Miss Stuart's lead- ing man in "The Sea Gull" and was signed by Universal at tile same time as Miss Stuart.

Though there are many blondes in Hollywood, Gloria is one of the natural ones, and this, with her large hazel eyes and exceptionally fine profile, makes her one of the most attractive young women of the screen. And be- neath her ever-present dignity and poise, Gloria hides a great many ardent enthusiasms. An excellent swimmer, she is so in love with the sport that every summer after- noon finds her in the surf. Hollywood is agog at her feats on the polo field. She is an excellent horsewoman and of the tew women polo players in the film colony. Also, she is an extremely talented wood-carver. Last, but certainly not least she is a movie fan.

Her work in "Air Mail," a thrilling story of the intrepid aviators who fly the government mail, is splendid.

Qloria Stuart Has Played Four Big Leading Roles in the First Six Months of Her Film Experience

Tf -sAI




Louis C«lhern, George Meeker, Tally Marshall. By George Sklar and Albert Maltz. Produced by Carl Laemmie, Jr Directed by Edward L. Cahn. Presented oy Carl Laemmie



I^EW YORK’S sen- sational stage access is even greater IS a screen show than m the stage— it will be lie talk of these whole United States!



November 5, 1932

""Laughter in Hell" in Production

A S THE Jim Tully novel, "Laughter in Hell," comes off the press and into the booksellers' g ^ windows, the moving picture of this graphic story, by one of the world's most vivid K m writers, goes

into production at Univer- sal City. The growing popularity of Pat O Brien, as evidenced in "Air Mail", caused Carl Laem- mle, Jr., to give him the lead. The entire cast is interesting and full of box- office names. Tom Brown,

Gloria Stuart, Berton Churchill, Merna Ken- nedy, Arthur Vinton, all have splendid roles, and there are also Douglas Dumbrille, Tom Ricketts,

Arthur Wanzer, William H. Turner, Russell Powell,

Clarence Muse and Tom Conlon.

Tom Reed adapted the novel to the screen, and Edward Cahn is directing it. In "Laughter in Hell,"

Carl Laemmie, Jr., prom- ises a remarkable perfor- mance by Merna Ken- nedy. Once before the Universal producing head snatched this girl from ob- livion. She has the red- dest hair in .Hollywood and the producers mis- takenly tried to make her a milk-white ingenue. They

failed. This time she is , ,

. II* t Ine new Merna Kennedy as she

coming back in a role as

provocative as her hair. Miss Kennedy is all washed up with good little girls. She is the laughter in Hell.

"'Cagliostro" Now Becomes "The Mummy” with Karloff

UNIVERSAL has changed the title of "Cagliostro" on its list of twenty-six productions for the year, to "The Mummy". "Cagliostro" was an original story by Nina Wilcox Putnam, written around a centuries-old legend. With the assistance of E. Richard Schayer, the story was prepared for the screen and the legend ex- tended to date back three thousand years. The role of Im-Ho-Tep was tailored to Karloff, the "Frankenstein" monster, and fitted him so remarkably well that Carl Laemmie, Jr., resolved to launch him as a star in this production of "The Mummy".

Karloff actually is a mummy in this picture, a mummy who comes to life by the chance discovery of an ancient formula and then attempts to drag a beautiful society girl back through the centuries with him in order to

eliminate the three thou- sand years which separate them. "The Mummy" has all of the power that made "Frankenstein" great. Its sets were de- signed by the world-re- nowned artist, Willy Pogany.

Karl Freund, the great camera expert, who shot "Variety" and awoke Hol- lywood to a consciousness of camera angles and the new camera technique, is producing "The Mummy" as his first directoral as- signment. His cast in sup- port of Karloff includes Zita Johann, David Man- ners, Edward Van Sloan, Arthur Byron, Bramwell Fletcher, and Noble Johnson.

'Destination Unknown' Announced

To take the place of the picture "S. S. San Pedro," which has been withdrawn from the list of Universal produc- , . L, tions, Carl Laemmie, Jr.,

appears in Laughter in nell l x J xl

has just announced the story by Tom Buckingham entitled "Destination Unknown." This production will feature Pat O'Brien and Ralph Bel- lamy, who were so tremendously successful in "Air Mail." The cast already includes Charles Middleton and Rollo Lloyd. Tay Garnett has been taken off of "Men Without Fear" and will direct "Destination Unknown" until con- ditions in the bull fighting sport in Mexico City improve. All of the important bull fights there were cancelled, owing to conditions which have affected sports in this country as well as in Mexico.

In the meantime, "Destination Unknown" looms up as a remarkably fine story, and Universal will give it every possible ounce of production value. The feminine lead will be announced next week.

The teaming up of Pat O'Brien and Ralph Bellamy is one of the results of the splendid work that these two did together in "^Air Mail". When "Air Mail" gets into its stride in the theatres, reputations of both will increase.

Here*s one they can*t imitate because Universal gobbled up football s greatest stars and made a drama that smashes even ^The Spirit of Notre Dame/^

With RICHARD ARLEN/ Andy Devine, James Gleason, Gloria Stuart, John Darrow. THE 1931 ALL AMERICA TEAM and the ALL AMERICA BOARD OF FOOT- BALL—"Pop" Warner, E. L. Casey, Jesse Harper, W. A. Alexander, Christy Walsh. Story by Richard Schayer and Dale Van Every. Produced by Carl Laemmie, Jr. Directed by Russell Mack. Presented by Carl laemmie.













"'Afraid to

Before ever "Afraid to Talk" reached New York, it was "grapevined" as one of the remark- able productions of the year. At its preview, "Afraid to Talk," which is based on the Broadway stage suc- cess, "Merry Go Round," by Albert Moltz and George Sklar, was caught by all the Hollywood critics, and they, with one accord, tagged this one as a winner. The Hollywood Filmograph calls it a ten-strike for Universal. Arthur Forde, writing in that paper, says:

"Universal hits the high mark In one of the best pictures of the year, on a subject that Is given more thought and publicity than anything else In the public eye. - - - - The clever work of the writers, the direc- tor, and splendid cast, holds the audi- ence in a spell until the final curtain. Edward Cahn did a masterly piece of work that should place him high in the ranks of top-notch directors. His novel Idea of an electric sign to help the advancement of the story Is ex-


November 5, 1932

They Had To Get Married A Great Title and Cast

UNIVERSAL has improved another title and put a cast at work which is going to set a record for comedy personalities. The new title is "They Had to Get Married," changed from "Beauty and the Brute." It stars Slim Summerville and ZaSu Pitts. And look at this lineup: Veree Teasdale, Guy Kibbee, Fifi Dorsay, Roland Young, C. Aubrey Smith, David Tillotson, Vivian Oak- land, William Burress, Louise Mackin- tosh, Robert Grieg, Virginia Howell, Bertram Matburgh, James Donlan, Elizabeth Patterson, Wallis Clark and Cora Sue Collins, who played so mar- velously with Summerville and Pitts in "The Unexpected Father" last year.

The story was written by H. M. Walker, Gladys Lehman and Clar- ence Marks and Is al- ready In Its second week of production at Universal City under the direction of Edward

Slim Summer- ville and ZaSu Pitts in "They Had to Get Married"

Ludwig. On the second day, ZaSu Pitts was taken to the hospital, but fortunately her ailment was of a minor nature, and she is now back on the set and production is progressing splendidly. No actress in Hollywood works so steadily as ZaSu Pitts. She has to go to the hospital to rest. In the meantime. Miss Pitts is getting gobs and gobs of praise for her work in "Cnee In A Lifetime."

"The All American" Hits Everywhere

{Hollywood Reporter)

"Reports received of the recep- tions accorded Universal's big foot- ball feature, 'The All American,' have given great joy to company officials," states the Hollywood Reporter. It then goes on to cite figures of the Golden Gate 'Frisco, the Crpheum In Cmaha and the Crpheum in Port- land, all above "Back Street.

Talk" Ready for Release

tremely interesting. - - - - Eric Linden is so perfectly natural as the har- rassed boy that you really suffer with him In his trials. Sidney Fox as his wife does the best work of her career. The photography of Karl Fruend Is of his famous high order. Universal Pictures have shown us some splendid pictures since the new season opened, but 'Afraid to Talk' is by far the best, with Its grand en- tertainment, which theatre managers all over the country will cash in on heavily at the box-office."

"Afraid to Talk" is ready for re- lease. It will be in the exchanges this week. It takes the place on the Universal program of "Shanghai In- terlude." It features Eric Linden and Sidney Fox, but Its splendid cast In- cludes Mayo Methot, Robert War- wick, Tully Marshall, Louis Calhern, Berton Churchill, Edward Arnold, George Meeker, Ian MacLaren, Matt McHugh, Frank Sheridan, Tom Jack- son, Gustav von Seyffertitz, Reginald Barlow and Edward MartIndel.

Eric Linden and Sidney Fox In "Afraid to Talk"

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aflfilVKS ITS CHAlAfS Afin “«iaHT OF SCRUMItM nj[® ,,

The Dreadful Drama of "DRACULA"

The Sheer Horror of “FRA NKENSTEIN"

The Perfect Acting of “Dr. JEKYLL & Mr. HYDE"

. . .combined in the blood-chilling story of ten men and

woman ... marooned in a house accursed while Fear broke loose and played havoc with their bodies and soulsl

IX A n I |P m The Monster of IV lx L \J r r ‘FRANKENSTEIN’’

Supported by a superb cost Mrftich'jnclu<jes


Raymond Massey Gloria Stuart Lilian Bond Ernest Thesiger

Directed by JAMES WHALE, Director of "FttANKENSTEIN''

TOMORROW at 9:30 A.M.

Popolor Prices— Continuous Performortcos— lost Complete Picture 1.30 A.M.






A Universal Picture with

14 - UNIVERSAL WEEKLY November 5, 1932

Tom Mix Signs A New Contract for Seven More

Thousands of exhibitors win be glad to hear this piece of news. Tom Mix not only will be Universal's big western star tor next year, but he will MAKE MORE PICTURES THAN HE DID LAST YEAR. Contracts have just been signed between Tom Mix and Universal, insuring Universal seven Mix pictures as compared with six the year previous.

This is highly significant end an encouraging sign of the times.

The Mix pictures this year went over big. There can be no doubt about it. They made money for exhibitors. There can be no doubt about that.

Nothing succeeds like success. Tom Mix is more of a success right now than he has ever been in all of his years as the premier western star of the screen. Universal realizes this and realizes that exhibitors want him. That is why it demanded and secured from Tom Mix one more picture. So there will be seven Tom Mixes next year.

In the meantime. Mix is rapidly recovering from three cracked ribs received when the faithful Tony stumbled down a bank during a fist fight on horseback between Tom and Duke Lee. Little things like cracked ribs do not stop Tom Mix, though. The way he can take it is nobody's business. He is going right on with the first of these seven pictures. The first one is a Peter B. Kyne magazine story entitled "Oh, Promise Me." It won't be that title when it is released, but you can bank on it. Universal will give this first one a crackerjack title. It already gave it a sHendId cast. Including Ruth Hall, William Farnum, George Hackathorne, Duke Lee, Pee Wee Holmes, Wil- liam Steele, Fred Burns and Clarence Wilson. Arthur Rbsson is directing "Oh, Promise Me."

Two other pictures have already been selected for next year. One is "Riders of Terror Trail," by Grant Taylor, which Jack Cunningham is now adapting and which will be directed by Armand Schaffer. The third picture will probably be "The Promised Land," by Lester llfeld.

'"Air Mail" Today

"Air Mail" Was In the Bag Long Before It Opened

Strange thing how the film business smells out success. "Air Mail" opens today at the Mayfair Theatre in New York. No box-office figures to go on; no critics' reports nothing and yet there isn't a person in the moving picture business who doesn't already know that "Air Mail" is a huge suc- cess. They just smell 'em. In Africa, drums carry messages almost as fast as the telegraph. The Indians on this continent used to signal by fires from one mountain top to another, with incredible speed. They are as noth- ing compared to the speed with which a moving picture success can make Itself known to every producer, distributor and exhibitor in this wide land.



Amazing Story OF


The only film ever shot in Green- land and the sources of the gigan- tic Icebergs. This story will be told in a forthcoming issue of the UNIVERSAL WEEKLY

Variety Retracts

U Denies Making Films for $75,000

Denying a "Variety" report that Universal is producing four class "B" features with budgets not exceeding $75,000, R. H, Cochrane, vice-presi- dent in charge of the home office, declared:

"We cannot do it and no other company can do it unless they inten- tionally set out to make cheaters. We haven't any such budget for any of our pictures or any such plan. Our minimum picture is around $150,000. The same is true of every other major company."

November 5, 1932 UNIVERSAL WEEKLY 15

""I Get Prouder of Motion Pictures Every Day of My Life"

Says Mae Tinee, Chicago Tribune Critic^ Inspired by Universal Picture.

This Is a Rave, Says Critic of Movie Review

'Once in a Lifetime' Wins a Big Hand

By Mae Tinee Good Morning!

Right here on this spot, at this time, I want to give Universal a great big hand!

In "Once in a Lifetime" this com- pany has attained a double barreled achievement. The first barrel is a workmanlike and exceedingly enter- taining adaptation of the uproarious stage satire. The second which pos- sibly should have been mentioned first is a reputation for good sports- manship. There was no deleting of lines or situations that kidded Holly- wood. Instead, they were permitted to blossom as the sunflower. Univer- sal has, to its everlasting credit, proved Hollywood able to take joke and pass it on with a grin, even if the joke WAS on the picture colony.

Honestly, I get prouder of motion pictures every day of my lifel They're growingl The people who are making them are growing. By fits and staKs and pains maybe but, still, lustily taking root in good old common sense and reaching aspiring tendrills toward the sky.

The play by Moss Hart and George S. Kaufman, who, it is said, had never been to Hollywood before they wrote it, starts its story with the start of talking pictures.

Then, as everybody knows, the world of the cinema went just plain cuckoo over the wonderful invention dropped into its lap.

A vaudeville trio two men and a girl down on their luck, trek to Hol- lywood. May Daniels and Jerry Hy- land are smart. They nourish the brilliant idea of starting a school

""Back Street" Coes Sweeping On

"Back Street" is regarded by ex- perts as the most remarkable picture of the year in Its consistent power at the box-office. It opened in the Rockaways and Long Beach, around New York, and has just played its re- peat bookings in the same houses to within a few dollars as much money as it took in the first time it played these houses. And it established rec- ords In all of them then.

Frank McCarthy, Eastern Sales Manager, has just received a letter from A. H. Barnett, Manager of the Buffalo Universal Exchange, with some astounding figures on "Back Street" In Its neighborhood runs in Buffalo. It Is just a casual letter, like one official might send to another, but it contains a startling statement and all of the figures are included in the letter to back up this statement. Here Is the letter.

"Dear Frank:

"I thought you might be Inter- ested to learn that 'Back Street,' in the Publlx neighborhood houses, did more than any other picture shown in the past two years, par- ticularly In the Elmwood and Se- neca Theatres.

"The grosses In each situation were as follows."

(Figures on request).

wherein formerly silent players shall learn to talk in a manner that shall not confound the world. George Lewis, the other member of the trio.

Is just a dumb Indian nut eating stooge whom they love and who loves them.

Not for the world would they leave