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June 01, 1933 - Image 4

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The Michigan Daily, 1933-06-01

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_ -

selected a decent story to present the hard-boiled,
loud-mouthed, devil-may-care doubhboy. As it is,
the story is nothing but a flimsy thread and the
characterization of Tracy is the only outstanding
feature of the film. Gloria Stuart adds a bit to
the sequence but she isn't given enough to do to
make her part worth while. The picture contains
the same "shots" of the war as all the other war
pictures, but lacking in strength, the presentation
is one of the weakest we have seen.
"The Past of Mary Holmes," based on Rex


~" V 4
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Published every morning except Monday during the
University year and Summer Session by the Board in
Control of Student Publications.
Member of the Western Conference Editorial Associa-
Asoi-tion and the Big Ten News Service.
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for republication of all news dispatches credited to it or
r not otherwise credited in this paper and the local news
publishe herein. All rights of republication of special
dispatches are reserved.
Entered at the Post Office at Ann Arbor, Michigan, as
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WO1tEN'S EDITOR....................CAROL J. HANAN
NIGHT EDITORS: Ralph G. Coulter, William G. Ferris,
John C. Healey, Robert B. Hewett, George Van Veck,
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Murphy, Margaret Phalan.
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Arthur W. Carstens, Sidney Frankel, Marjorie Western.
REPORTERS: Caspar S. Early, Thomas Groehn, Robert
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mer, Florence. Harper, Marie Heid, Margaret Hiscock,
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z Telephone 2-1214
DEPARTMENT MANAGERS: Advertising,W. Grafton Sharp
Advertising Contracts, Orvil Aronson; Advertising Serv-
ice, Noel Turner; Accounts, Bernard E. Schnacke; Cir-
culation, Gilbert E. Bursley; Publications, Robert E.
ASSISTANTS: John Bellamy, Gordon Boylan, Allen Cleve-
land, Jack Efroymson, Fred Hertrick, Joseph Hume,
Allen Knuusi, Russell Read, Lester Skinner, Robert
Ward, Meigs W. Bartmess, William B. Caplan, Willard
Cohodas, R. C. Devereaux, Carl J. Fibiger, Albert
Gregory, Milton Kramer, John Marks, John I. Mason,
John P. Ogden, Robert Trimby, Bernard Rosenthal,
Joseph Rothbard, Richard Schiff, George R. Williams.
Elizabeth Aigler, Jane Bassett, Beulah Chapman, Doris
Gimniy, Billie Griffiths, Catherine McHenry, May See-
fried, Virginia McComb, Meria Abbot, Betty Chapman,
Lillain Pine, Minna Giffen, Cecile Poor, Carolyn Wose.
And Hitler. .
T"' WO MEN dominate the political
and economic limelight ofathe
world today. In the hands of these two men lies
much of the responsibility for the future of hu-
man relationships.
On the one hand, there is fiery Adolf, child of
the Versailles Treaty, the humble paper-hanger
who has skyrocketed to power with the aid of his
magnetic personality and the troubled condition
of the stricken German nation.
Hitler has been thought a demogogue, a sham
who would betray his incapacity when entrusted
with the responsibility of office. But Hitler has
proved more clever than anyone expected. Just
when Germany appeared on the verge of an isola-
tion comparable only with that of its pre-war
days, Hitler dramatically summoned the sus-
pended Reichstag into special session, delivered a
stirring speech which thrilled both Germany and
the world, and very nearly shifted the blame for
the European war fever upon the shoulders of
security-loving France. Nazi-ism has been some-
what distasteful to a great number of people be-
cause of its treatment of the Jewish population in
Germany. How much of the blame for the Nazi
actions in this respect must be placed upon the
chancellor one cannot say. It must be borne in
mind that each revolutionary movement carries
with it a certain hoodlum element. Further, it now
appears that most Jews were persecuted princi-
pally because of their Bolshevistic sympathies.
Hitler's appearance on the German scene may
in the end even prove a blessing for his protesta-
tions may arouse popular sentiment to such a de-
gree that the unfortunate treaty of Versailles will
be abrogated or at least altered. Most of us have
hoped to see this accomplished without so violent
a flare of public indignation, but it is only fair to

admit that our hopes have so far been in vain.
Here in the United States is the other individual
of predominating position in the world's attention
-our new President, Franklin D. Roosevelt. Just
as a war-torn world turned to America's Wilson
in 1918, so is the war-fearing world of today look-
ing toward the first Democratic president since
Wilson. In the earlier case, 'though through little
fault of Wilson, the world met disappointment.
Will it do so again?
Roosevelt can play the part of the great paci-
fist. It will be up to him, among many other
things, to keep France pacified while granting a
"new deal" to Germany. The task will be difficult.
If Hitler refrains from bombastic belligerance
and if Roosevelt can be persuasive enough in a
middle course, the acute problems of today may
be solved without the costly and inhuman destruc-
tion that is war.
Screen Reflections

Beach's story, "The Goose Woman," is an unusual
piece of work in a few respects, but is otherwise
quite an ordinary every-day sort of movie. The
story fascinates somewhat but is too slow-moving
for the type of tale it represents. Helen Mac Kel-
ler, as "the goose woman," is hardly convincing,
and Eric Linden does the only real acting in the
picture. Of course "Skeets" Gallagher is there as
the typical wise-cracking newspaper reporter. But
we're really a bit tired of having our newspaper-
men portrayed on the screen as a distinct type--
all from a common mold. But that is only one of
the minor faults of the picture. "The Past of
Mary Holmes" is actually just another few thou-
sand feet of film. -E. J. P.

John Barrymore is starred in "Reunion in
Vienna," the picturization of Robert E. Sher-
wood's Broadway hit of last season. In the new
film, which comes Saturday, June 3, to the Ma-
jestic Theatre, Barrymore plays the role of the
impulsive and irresistible Hapsburg archduke, Ru-
dolf, who returns to Vienna from exile to recap-
ture the memory of kisses that lingered long after
the royal reign toppled and the glory of the
glamorous court life faded.
This role, created on the stage by Alfred Lunt,
with Lynn Fontanne in the feminine lead, is said
to match Barrymore's individual talents and per-
sonality with flawless fit. It follows his acclaim
in "Grand Hotel," "Rasputin and the Empress,"
"Bill of Divorcement" and "Topaze."
Diana Wynyard is the leading macy, filling the
Fontanne role of Elena, the Viennese beauty
who marries an eminent psychiatrist in an effort
to forget the romance that swept her off her feet
in the gay court days. This characterization is said
to offer her the finest opportunity of her career.
Sidney Franklin, who was responsible for "Pri-
vate Lives," "The Guardsman," and "Smilin'
Through," directs the picture.
--E. J. P.
The Theratre
For the benefit of those to whom unconven-
tional art forms invariably involve the disturbing
questions, "What is -it?" and "What does it
mean?" we hadintended to view Angna Enters,
whose second recital on Robert Henderson's Dra-
matic Season was presented Tuesday night, with
a particularly analytical and speculative eye..We
were going to mull over everything that happened
that night on the Lydia Mendelssohn stage and
then formulate a nice little platitude with which1
to quiet the unhappy searchers for Trut% and
That was what, we intended to do. What hap-
pened was that after we had assembled allour.
mental notes and checked them off against each
other, we found that all that was left were two
apparently incompatible statements. Regardless oft
the seeming insanity of the two claims in light of
each other, both are nevertheless indisputable.
They are (1) Angna Enters is a circus clown, and
(2) Angna Enters is a dramatic, artist of a calibre
equal to that of the recognized leaders in any
other field of contemporary art.
The only complete generalization which can be
made regarding Miss Enters is that she is an artist
with a sense of humor. She, so far as we.know,1
is the first who has successfully mixed whisky and'
gin. On the one hand, her ''Boy Cardinal," "Peon's
Heavenly Robe," "Queen of Heaven," and "Dance
of Death" represent a form of dramatic dancing'
carried on at an uncompromisingly high pitch of
expressiveness and seriousness. These presenta-
tions, while they are infinitely more than mere
pantomimes, can not rightly be called dramatic
abstractions. They are rather dramatic generali-
zations in dance form of themes which are always
apparent and always vitally forceful.
In her other mood she gives one things like
"Pique-nique," "Piano Music," "Entr'acte," and
"Farmer in the Dell." These numbers all given in
pantomime form, are four of the most amusing
skits we have ever seen. Yet they are more than
skits. The absence of voice gives. one the feeling
that he is observing the character at a moment
when she supposes herself to be utterly unob-
served. Miss Enters brings to these characteriza-
tions of widely varying types of women an intel-
ligence which is almost unbelievably acute in its
attention to detail.
In her serious moments, Miss Enters, general-
izing always, makes use not only of the bodily
movements which are the essence of abstract
dance expression, but also of facial expression
and movement with the result that she is always
an individual presenting her entire character in
her actions.
So completely do her moods change .with ,her
various characterizations that it is with a distinct
start that one realizes from time to time .that
Angna Enters the comedienne and Angna Enters

the dramatic artist are identical.1
It is being whispered that Mr. Coward ,and
George Arliss are to be added to the English peer-
age this spring with the announcements of His
Majesty's lists. It is also whispered that Mr. Cow-
ard is delaying the London production of "Design
For Living" until next fall for this reason. He
prefers the staid royal circles to remember him
at the moment for "Cavalcade" rather than for
the highly unusual "Design For Living," which, in
his own opinion, is his most important play.
- - . .2..-Am vr: 9 c . nlnlw.. > . t - -v1--- rnn

ness contacts. Particularly during rehearsal of a
piece he's snappish and politely rude, posting his
business manager and chief collector of royalties,
(Mr. John Wilson), as human barricades between
himself, his cast, and his callers.
No more businesslike artist exists. He charts his
time like an efficiency engineer. He divides his
year into six month, of modified loafing,
six months of work (fall and winter)-active,
physical work of directing and playing and. going
through what he deems the necessary evil of nego-
tiations with managers and selecting his casts.
He insists on personally selecting casts. He also
insists on, limiting his own personal appearances
in any play to three month. He quit "Private
Lives," a sensational hit, when the three months
were up and tickets were selling at a premium.
After an intense theatrical season he retires
from New York or London, as the case may be,
and hides himself where nobody can reach him, to
read voluminously and to write, to wander at will
or whim. This summer he is going to Peru and
Chile. A tramp steamer, a cabin in the South Seas,
a tourist-proof hotel in Malta or some other out-
of-the-way spot. That's where you'll find or will
not find Coward.
"I work fast," he explains, "writing furiously
by hand and typewriter; but I never act on a
quickly conceived dramatic idea in either music
or book. Everything I try to compose rapidly
peters out. Thanks to a relentless memory-a gift
for which any man must be thankful-fugitive
ideas never escape me. They play hide and seek
in my mind, getting other ideas to join them until,
in due time, I have a plot or tune completely
While on a tour around the world, he boarded
a battleship as the captain's guest and wrote that
energetic classic of serio-comic melodrama, "Pri-
vate Lives."
At a reception in Honduras he laughed quietly
and explained the laugh to nobody-for the key-
line of a lyric sprang to his mind, to be followed
months later by the tune, both wedded in a satir-
ical ditty worthy of Gilbert and Sullivan at their
best: "Mad Dogs and Englishmen Walk Out in the
Midday Sun," the song being a gazetteer of Brit-
ain's tropical possessions, and sung in "The Third
Little Show" so hilariously by Beatrice Lillie.
Noel Coward likes to work alone. Yet it's on
record that this exemplar of solo versatility had
a collaborator. He was on a freighter in the Pa-
cific, writing "Design for Living." Commanding
the freighter was a Norwegian skipper, whose
salty personality fascinated Mr. Coward. They
used to talk by the hour. Thus it is that the
climax of Act II in "Design For Living" is spoken
in Norwegian. It is a single line (in Norwegian),
and the line is:
"How are you?" in Norwegian.

About Books
To The Editor:


We find the supercilious and patronizing review
of Anne Persov's "Whatever You Reap" most ob-
jectionable. The review is too stupid to deserve
serious consideration, but nevertheless, since the
Daily reaches the entire student body, most of
which is uriacquainjed with, and may not soon
have an opportunity to. read the book, it is neces-
sary, to correct the impression created by Mr.
P. M.'s loose and vague generalities.
We will not attempt a "purist definition" of the
word "poetry,". nor the. word "verse," regardless
of the fact that these words have apparently no
logical meaniug for Mr. P. M. It may. be "dan-
gerous".for.him,"to attempt to generalize on any-
thing as complex and debatable as modern poetry"
but Mr. P. M. is no coward. He walks in where
angels fear to tread. His entire review is com-
pounded of turgid and meaningless generaliza-
For example, Mr. P. M. says: .:'Whatever You
Reap' is decidedly good modern poetry or verse, or
what you will.' Leaving aside the fact that Mr.
P. M. has failed to define poetry or verse,.we ask
what "what you will" can possibly be meant to
convey. In the same paragraph, he goes on to
say, "In other words, it meets certain standards
set up by Miss Persov's immediate predecessors. It
is gaudy, it is passionate, it is crisp and hard." We
ask again, what are these "certain standards?"
And what "immediate predecessors?" The field of
contemporary American poetry includes, after all,
a variety of figures and a variety of standards.
Certainly,.such poets as Robinson Jeffers, T. S.
Eliot, Edna Millay, Robert Frost, and Hart Crane,
do not stand for precisely the same thing, Exactly
what does Mr. P.. M. mean by cults, trends and
isms? Good modern poetry is certainly self-con-
scious. Good poetry of any period is, Mr. P. M. has
made no discovery. He has thus failed to differen-
tiate modern poetry from poetry of any other pe-
riod. In particular reference to Miss Persov's work,
we say with absolute finality, that whatever, else
her work may. be, it is not gaudy. Mr. P. M.'s
definitions of words are undoubtedly private and
personal. We understand by the word "gaudy"
something which is showily vulgar and gay. Miss
Persov's poetry is singularly restrained and re-
served. Nor do we understand what Mr. P. M.
means by "crisp" and "hard." Miss Persov's work
is decidedly lyrical in its nature, as the most cas-
ual reading will prove.
Mr. P. M.'s comparison of the concluding lines I
of one of Anne Persov's sonnets with a few lines
of one of Amy Lowell's poems, to show a likeness
between the two poets, illustrates the heights of
ineptitude which the reviewer seems to reach with
no difficulty at all. No two, poems could be more
dissimilar. Has Mr. P. M. really read Sappho? Andt
has he honestly read Miss Persov's book?
Any reviewer has a legitimate right, providing
he has adequate grounds, to like or dislike a book
of poetry. But Mr. P. M..has no legitimate literary
grounds to like or dislike any piece of literature
whatsoever. He has nothing on which to base his
opinions, not even taste. In a high-schoolish at-
tempt to be impressive, he succeeds only in being
gaudy and vacuous.
Since the Hopwood Awards are an important
event at the University of Michigan, surely the










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