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January 14, 1934 - Image 4

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The Michigan Daily, 1934-01-14

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Established 180
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 Association
and the Big Ten News Service.
s$ociated l001 iate g"So
=.1933 (iot .. caett 1934 -
The Associated Press is enclusively entitled to the use
for republication of all news dispathces credited to it or
not otherwise credited in this paper and the local news
published herein. All rights of republication of special
dispatches are reserved.
Entered at the Post Office at Ann Arbor, Michigan, as
second class matter. Special rate of postage granted by
Third Assistant Postmaster-General.
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$1.50. During regular school year by carrier, $375; by
mal, $4.25.
Offices: Student Publications Building, Maynard Street,
Ann. Arbor, Michigan. Phone: 2-1214.
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Inc., 40 East Thirty-Fourth Street, New York City; 80
Boylson Street, Boston; 612 North Michigan Avenue,
Telephone 4925
CITY EDITOR.......................BRACKLEY SHAW
WOMEN'S EDITOR....................CAROL J. HANAN
NIGHT EDITORS: A. Ellis Ball, Ralph G. Coulter, William
,G.aFerris, John C. ealey, E. Jerome Pettit, George
Van Veck, Guy M. Whipple, .Jr.
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Rletdyk, Mary Robinson, Jane Schneider, Margaret
Telephone 2-1214
WOMEN'S BUSINESS MANAGER.................. Y
" ........................ CATHARINE MC HENRY
DEPARTMENT MANAGERS: Local Advertising, Fred Her-
trick Classified Advertising, Russell Read; Advertising
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Ward; Accounts, Allen Knuusi; Circulation, Jack Ef-
ASSISTANTS: Meigs Bartmess. Van Dunakin, Milton Kra-
mer, . John Ogden, Bernard Rosenthal, Joe Rothbard,
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Florez, Doris Gimmy, Betty Greve, Billie Griffiths, Janet
Jackson, LouiseKrause, Barbara Morgan, Margaret
Mustard, Betty Simonds.
Professor Angell,
Union Beer. ..
I T seems to us that Professor An-
gell's interview on State Street
beer, published in yesterday morning's Daily,
should have contained one more paragraph. It
is our contention that there should be a restau-
rant near the campus where men could congre-
gate freely and, unhampered by the presence of
co-eds or dance music, enjoy a wholesome mix-
ture of friendship and beer after the fashion of
European collegians. The paragraph which we
think should have been added. would be to the
effect that it is not necessary to build or borrow
any such restaurant: one already exists, par ex-
cellence for the purpose Professor Angell outlines
in the Michigan Union.
It will be a great tragedy, we think, if those
who administer the Union permit the lesson of
repeal to escape them. It will be a great tragedy
if they attempt to continue the antiquated, not
to say vicious, policy of prohibition in the pre-
cincts of a club which it is presumably their duty
to regulate in the best interests of the members.
By driving from the Union those students who
take honest pleasure from an occasional schupper
of beer, two very real harms at least are worked.
In the first place an aura of unholiness is
given to an activity in which, no matter what
happens, (including even Constitutional Amend-
ment), students will always indulge. Thus their
consciences are insulted, what standards of con-
duct they have become confused, and they are
inculcated with a spirit of disregard, not to say
aversion, for all law.

In the second place they are forced from the
Union, where the environment is good, into places
where the environment is dubious. The Honor-
able Paul Leidy him~self cannot deny that an
evening spent in the Union,with beer, would be
less likely to be harmful than an evening spent,
also with beer, in some of the dives a little further
away from the campus. This being so obviously
true, it seems to us that to close the Union doors
to the beer drinking majority of students, which
means sending them to places of unhappier in-
fluence, is utterly to defeat the high purpose to
which the Union is dedicated.
The experience of the past decade has been
that to prohibit is in practice to ignore. The alco-
holic evil can only be mitigated by watchful reg-
ulation, not by driving those who stand to be
affected away from the scrutiny of persons who
ought to be helpful.
Co-operative Couneil
P - ~ U~T.~

body which will decide what shall be done with
the as yet unhatched chickens it is believed the
drive and other ventures will produce.
It was a valid criticism of last year's Good Will
drive that many needy students were not helped
by it owing to a natural reluctance to report their
condition and to the ignorance of others con-
cerning them. To improve upon this state of af-
fairs the Vndergraduate Council encouraged the
formation of the Co-operative Council, a body
with representatives from practically all campus
religious and social groups, and which, by virtue
of its composition, should be able to make known
many cases of student destitution which would
otherwise have gone unnoticed.
The Co-operative Council was not to be the
only group that could call attention to places
where the funds might be spent. It was not to
have any power of distribution at all. Its sole
function, as far as the Good Will drive is con-
cerned, was to be and will be the employment
of its representativesness as an instrument for the
detection of need. A corollary function, to be
sure, will be recommendation that the needy cases
discovered be aided; but it is important to bear
in mind that this will be a corollary function
What would have perplexed anyone present at
last Thursday's meeting of the council, and in
possession of this knowledge, was the apparent
assumption that the Good Will funds were to be
turned over to it for any form of need alleviation
or social experiment it might choose. This is not
If the Co-operative Council would fulfill the
purpose for which it was created, it had best begin
by learning what that purpose is.
Screen Reflection.s
Four stars means extraordinary; three stars definitely
recommended; two stars, average; one star, ineror;
no stars, stay away from it.
Behlinha ...........Dolores Del Rio
Roger .............. Gene Raymond
Julien ................ Raul Roulien
Fred ..................Fred Astaire
Honey ..............Ginger Rogers
If the Majestic burns to the ground this week-
end, anyone who has seen "Flying Down to Rio".
will need no explanation of how it started. This
is without doubt the most torrid production that
has hit Anni Arbor in many moons. As a musi-
cal extravaganza it is good, but as a super-sexy,
fast moving, cleverly concocted bit of entertain-
ment it is even better. Dolores Del Rio supplies
the feminine pulchitrude, Gene Raymond the an-
swer to a lonely maiden's supressed desires, Gin-
ger Rogers the wise cracks, and Fred Astaire the
incomparable dancing.
Before you read any further, you must be
told about the "Carioca." This is a dance that
someone has decided that the public must be al-
lowed to see. Whether we should thank or spank
that someone is a question, because it compares
to the rumba, the tango, or anything that Harlem
could produce as Mae West does to Baby LeRoy
Putting this dance over would require only one
couple on any floor, but it is presented in a
very extravagant form, danced by seemingly hun-
dreds of over-sexed couples and led by Fred As-
taire and Ginger Rogers. Oh, me!
The plot is naturally subordinated by the other
features of "Flying Down to Rio." But without
it, the picture would lose quite a bit of its interest.
It is the story of what happens to an American
dance orchestra playing in Florida when its leader
meets a very alluring young lady from South
America. Bounded by convention and a very
old Brazilian family, the heroine is virtually (but
virtuously?) abducted by the hero in his plane,
and they fly to Rio de Janeiro during which
flight they are forced down on a strange island.
During the course of their sojourn thereon a great
deal of romance (if you prefer to call it that)
takes place. When the whole crowd gets to Rio,
they are engaged to open a new hotel, which is
owned by the heroine's father. Great difficulties
accumulate; namely that politics enters into the
hotel opening, forcing them to have their en-
tertainment on the wings of airplanes instead
of in the hotel; that the heroine has been en-
gaged to a Brazilian. since childhood; and that

mostly everybody is inebriated by the "Carioca."
Most disappointing is the ending, but that is the
fault of the misdirected state of mind of the
audience, and means very little in comparison to
the rest of the picture.
The comedy at the Majestic has for its main
attraction the fact that the characters are new.
At least we don't have to see the same old people
doing the same boring things. There is a news
reel, but no Mickey Mouse. And, why not? That
would be putting the mouse before the dynamite.

The Theatre
A Review
George Bernard Shaw would have called John
Galsworthy's "The Pigeon" a "pleasant play." It
is that sort of thing. In consequence persons who
enjoy pleasant plays and John Galsworthy will
have to hurry, since the Art Institute Auditorium,
Tabernacle of the Detroit Civic Theater, is to be-
come unexpectedly dark after tonight. I will have
more to say about this demise in the near future:
there is a resurrection forecast.
The production is in most respects a good one,
by professional standards. In order to understand
what constitutes a good production of "The
Pigeon", let us see what Galsworthy wrote.
The play does not carry the full force of its
author's ordinary impersonality. Lovers of Gals-
worthy find that one of his chief charms is his
ability to write character with understanding and
sympathy, and yet to maintain a Thackerayan
aloofness - to smile benignantly down upon his
characters, to appreciate all equally and impar-
tially. This is true to a certain degree in "The
Pigeon"-yet one who knows Galsworthy feels
that the god has experienced a spell of wistful-
ness, and has tried for a few hours to mingle .with
his creatures and to experience their friendship.
He never completely overcomes his critical atti-
tude and thus his characters are as incisive as
ever, and as equitably treated; yet one has a
hunch that he feels more personal love for Chris-
topher Wellyn and the rest of them than he ordi-
narily displays. This results in a technical fault in
Act III.
In general, it is a cabinet of characters, with
high narrative interest superimposed. There is
also a moral; but it is one which can be fully ap-
preciated only by a romanticist. A hard-shelled
realist may grasp the meaning of the wild bird
metaphor, but he will probably be unsympathetic.
And it is in exposing this thesis that the play-
wright inserts the most glaring flaw: the French-
man Farrand, in reciting the philosophy of the
homeless waif and the vagrant, is given a speech
so long that it is rescued from tedium only by
fine acting. This is the aforenoted error in Act
III; it is b- ' "e Galsworthiophile is
tempted to wonder whether the author was ex-
pressing a secret longing of his own. One is re-
mninded of the Cabehlian vignette of Alexander
Pope and his brown maiden.
The plot: Christopher Wellyn (Whitford Kane),
aging artist has a weakness for presenting his
name and address to panhandlers. The foible dis-
poses of all his spare change and eats into his
capital, to the intense disgust of his daughter Ann
(Jackson Perkins). Three of the money-moochers
- Mrs. Megan, a violet hawker (May Ediss), Fer-
rand, a French vagabond (Lauren Gilbert), and
Simson, a tipsy 'ostler (R. Iden Payne), make
their appearance at Wellyn's studio on Christmas
eve, and all are given lodging for the night.
Thereafter the three waifs (or "rotters," from
Ann's viewpoint), are played off against each
other and against the tender-hearted Wellwyn
(variously termed "the poor pigeon" and
"l'ange"). There is also amusing by play between
two belligerent reformers (Michael Paston and
Carl Benton Reid) and a type clergyman (Hiram
Whitford Kane was, in 1912, the original Well-
wyn. This makes his current performance a mat-
ter of high interest, especially since he created the
role on Galsworthy's invitation. Mr. Kane is a de-
lightful, jovial, logical Wellwyn - but he is not
Galsworthy's Wellwyn. This is easily accounted
for: he has not played the part for about three
years, and it is twenty-two years since the play
first featured him. Galsworthy's Wellwyn is de-
scribed as a man with "a crumply face"; quite
timid, a bit afraid of his beloved daughter, a bit
ashamed of his extravagant philosophy; alto-
gether a lovable weakling. In Mr. Kane's charac-
terization there is much difference: he has an air
of rubicund confidence, as though he were amused
by his idiosyncrasy rather than disturbed by it.
Mr. Kane's Wellwyn is probably as good as Gals-
worthy's, but it is not the same.
One of the most difficult roles to play realis-
tically is that of the tatterdemalion blue-blood.
This character - Farrand - was masterfully writ-

ten; in consideration of his performance, I am
prone to give Mr. Gilbert the chrysanthemum.
He, as noted, has also to carry the burden of
the argument. He displays satisfactory Gallic
grace even when altering a borrowed pair of

The farous HAL KEMP style of playing dance
music with 'Skinney' Ennis doing
the vocals
The music that comes from the trumpet of
HENRY BUSSE when he plays "When Day
Is Done" ... his way.. . and as he
made it famous for Paul
The outstanding men and women of the campus
who know that taking care of certain details
in dress makes for an exceptionally
fine appearance
Music by KEMP and BUSSE .. . dynamic!
The smart cleaning by

Wf i0 RPR



209 West Fourth Avenue - 7051/2 North University Avenue
4191 - a good clean number to remember --4191

-U- !




RIGHT NOW is the time to rent those

vacant rooms.

Within a month there

Musical Events

ACHMANINOFF, who needs no further intro-
duction, is going to give a concert in Hill
Auditorium this coming Thursday. Those who ex-
pect him as a long-haired Russian magician to
pull rabbits from the piano have another guess
coming; and they will be disappointed in the con-
cert, and in Rachmaniniff If they continue to
consider him a "typical musician." Rachmaninoff
believes in doing things intellectually and beauti-
Rachmaninoff remains an aloof, unpublicitized
personnage, yet his name is a by-word throughout
the land. What this man eats wears, has for a
hobby, who his cronies are, remain his own affairs.
Moreover, in public Rachmaninoff maintains this
unprickable privacy. He never emotionalizes be-
fore the multitudes. He has not capitalized on
his expatriation by going into the movies, for
instance! A concert of his moves with controlled
personal simplicity.
This asceticism is to his undying credit. He

Other characters who are almost perfectly Gals-
worthian are, in order of efficiency, Mr. Payne,
Miss Ediss, Miss Perkins, Mr. Jones, as Megan
the vindictive, Mr. Reid, and Mr. Moyer. Only one
juniper berry need be awarded, and a bit of pre-
liminary explanation is needed. When Galsworthy
writes a type character, he always manages to
work in a few crisply ironic lines which reflect
particular ridicule on the speaker, and elevate him
to an uncommon variety of his type. Therein Mr.
Sherman failed. Although he was the sort of An-
glican clergyman that one expects to see on the
stage, he miserably slighted those of his lines
which were particularly delightful, and much of
the play's moralistic irony was thus lost.
There are several instances of naivete of stage
management in "The Pigeon ', mostly traceable to
Galsworthy himself. Among them is a long hiotus
in the action and dialogue of Act I, while Wellwyn
is backstage changing his pants. But these weak-
nesses are for the most part overlooked because,
as previously diagnosed, it is a very pleasant play.
Collegiate Observer
Senior theses at the University of Bolivia
are converted into fertilizer and sold to truck

will be many changes in student rooms
and those who use the Classified Ads
will not find themselves with vacant
TODAY 'C All 2-1214 or stop at the
offce on M.aynard Street kand avail your-
self of this muedium
CASH RATES1.... IlcaLine


. 1c a Line

2ir n t4 'ff1 II!

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