THE MICHIGAN DAILY
CHIGAN DAILY
ture, which was ranked among the thirty best
films of last year, and was praised by such critics
as Robert Littell, Whilliam Troy, C. A. LeJeune,
and Sydney W. Carroll, needs no defense of its
artistry by The League. The audience -which at-
tended the showing proved that many townspeople
and students had not seen the picture when it ran
here before. Incidentally, the profits from that
picture have made the booking of "Der Haupt-
mann von Kopenick" possible. The League .offers
no apology to its audience for presenting this
fourth-run picture. It would feel no more apolo-
getic for repeating any other comparable Ameri-
can cinematographic success. (It hopes to present
"S.O.S. Iceberg" as soon as it can afford the rental
fee).
The League appreciates the genuine interest
shown in its plans and welcomes further criticisms
and suggestions.
The Senior Board, Art Cinema League
~ ,
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SnlJ *Ex ors~miI t ,jbL 1 ..,lS- --+ 'JnSFVS S'.
Established 1890
died every morning except Monday during th(
ty yearand Summer Session by the Board ir
of Student Publications.
er of the Western Conference Editorial Associatior
Big Ten News Service.
n
AT THE MAJESTIC
"TAKE A CHANCE"
**
$sacatd T o ciZk tress
1933 (.NAYIOMi -g cOVERAGE 1934
MEMBER OF THE ASSOCIATED PRESS
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MANAGING EDITOR .........THOMAS K. CONNELLAN;
CITY EDITOR.....................BRACKLEY SHAW
EDITORIAL DIRECTOR .............C. HART SCHAAF
SPRTS'EDITOR...... ....ALBERT H. NEWMAN
DRAMA EDITOR...............JOHN W. PRITCHARD
WOMEN'S EDITOR.................CAROL J. HANAN1
NIGHT EDITORS: A. Ellis Ball, Ralph G. Coulter, William1
G.' Ferris, John C. Healey George Van Veck, Guy M.
Whipple, Jr.
SPORTS ASSISTANTS: Charles A. Baird, Arthur W. Car-I
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WOMEN'S ASSISTANTS: Marjorie Beck, Eleanor Blum,I
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REPORTERS: C. Bradford Carpenter, Ogden G. Dwight,
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Ham R. Reed, Robert S. Ruwitch, Robert J. St. Clair,
Arthur S. Settle, Marshall D. Silverman, Arthur M.
"Taub.
Dorothy es, Jean Hanmer, Florence Harper, Marie1
Teld. lea or Johnson Ruth Loebs. Josephine McLean,
Uarjorle Morrison, Sally Place, Rosalie Resnick, Kathryn
Rietdyk, Jane Schneider.
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Florez, Doris Gimmy, Betty Greve, Billie Griffiths, Janet
Jsakson, Louise :Krause, Barbara Morgan, Margaret
Mustard, Betty Sionds.
NIGHT EDITOR: GEORGE VAN VLECK
Pubication Of;
Hopwood Novel.
rV HE announcement of Harcourt,
I. Brace and Cmpany that they are
to publish Mildred Walke's 1933 Hopwood prize
novel is highly signirc4lt. Not only does Miss
Walker receive tuther honor but through the na-
tional recognition which the publication will
bring to the Hopwood award will come a realiza-
tion of the great value which accrues from thisl
annual contest.
Miss Walker is deserving of the highest con-I
gratulations. So too is Professor Roy W. Cowden
of the English department under whom Miss
Walker studied, The desire, which has so often
been cherished by teachers, that their efforts mayI
be fulfilled by the success of their students is here
achieved for Professor Cowden.
The added attraction which is bound to be
linked with the Hopwood contests in the light of
Miss Walker's achievement is only fitting. Th
three divisions of the contest, major, minor, and
freshman, make it possible for any student en-
tolled in the English department to become a con-
testant. The wide range of prizes and fields of
competition, as well as the encouragement of new
and unusual subjects cannot but stimulate the
student in creative work in writing.
Congratulations again to Miss Walker and best
wishes for her career.
Screen Reflections
POLICIES OF THE
ART CINEMA LEAGUE
In answer to the letters which have recently
appeared in The Michigan Daily about such films
as "Zoo in Budapest" and "S.O.S. Iceberg," the
Senior Board of the Art Cinema League would
like to present a statement of its policy in select-
ing and presenting films.
In the main, its purpose has been and is "to
confine itself to bringing here films that would
ordinarily not be shown at the regular commercial
theatres." "Les Millions," the first of this year's
pictures, "Der Hauptmann ton Kopenick," this
week's film, and "Poil De Carotte," the choice for
next month, are definite examples of this plan.
"F.P.-1" and "The Patriot" both have been re-
cently screened and rejected for presentation, not
because of poor photography but because of poor
T~ra ~ nnf4i-niifrr
Lillian Roth
Dorothy Lee
Buddy Rogers
Lillian Bond
Cliff Edwards
James Dunn
The standard of judgment for this production
is, of course, the original stage show which was
such a hit a year or so ago. For the movie version,
Paramount has filmed nearly all the scenes of the
play just as they were produced on the stage, and
has added a new song (I'm a Night Owl) and
has put in a few shots that coult not be accom-
plished because of the limitations of the stage.1
The result of this is a very jumpy movie, having a]
plot that requires a lot of imagination to figure
out plus some of the original and some new wise-
cracks and some musical numbers.
"Take a Chance" should be recommended to
anyone who did not see the stage show; and if1
you have not and do go to see it, the way you1
will get most enjoyment out of it is to imagine
that you are seeing it as a musical comedy.c
The above cast includes an array of former1
movie stars who have been assembled to put this1
show over. Buddy Rogers is the acceptably capa-
ble hero, Cliff Edwards and James Dunn do theY
comedy parts originally played by Olsen and
Johnson, Dorothy Lee has a sufficiently amusing
part, and Lillian Roth replaces Ethel Merman in
the singing of "Eadie Was a Lady." This number
in itself is meritable because of its cleverness as a
song and because of the remarkable similarity
between the voices of these two young ladies. 1
For the added attractions there are a Jamesc
Gleason comedy which is slghtly above the average;
run of comedies that we have been having, a1
cartoon comedy of the Mickey Mouse imitation
type, and a news reel. In the news reel, we hear
several of our contemporaries wishing the Presi-
dent a happy birthday. That alone is almost1
worth the price of admission. -C.B.C.
Campus Opinion
Letters published in this column should not be con-1
strued as expressing the editorial opinion of The
Daily. Anonymous communications will be disrearded.
The names of communicants will, however, be re-
garded as confidential upon request. Contributors1
are asked to be brief, confining themselves to less
than 300 words if possible.
ANOTHER CRITICISM
OF FINAL EXAMSt
To the Editor:
Another valid, though probably not so frequent-1
ly heard, criticism of the examination system, inf
addition to the fact that there is no study or
reading period between regular classes and exams,
is that all exams, whether for one-hour or four-1
hour-courses, are the same length.-
Obviously, it is unfair that a student should be
expected to learn as much in a two-hour course
as in one which meets twice as often, and accord-
ingly it is rather strange that he is often asked to
write a full three hours on a final, no matter what
the amount of material in the course.
No official action should be necessary in such a
matter, since many instructors already follow the
policy of giving shorter exams in one- and two-
hour courses, and there is no reason why others
should not be perfectly willing to fall in line.
If the full three-hour final is continued for
three- and four-hour courses, certainly exams in
the two-hour subjects should not run longer than
two hours. This policy would enable the student
to allot his review time more equitably among his
courses in view of the credit he will receive in
the end. -An Average Student.
The Theatre
By JOHN W. PRITCHARD
AT THE LYDIA MENDELSSOHN
DEMONSTRATION OF DANCES
AND PANTOMIMES - A Review
IN THE MOST ambitious program of the season,
Play Production combined with the Department
of Physical Education for Women to produce last
night a dance demonstration that wholly bore out
Valentine B. Windt's belief that the dance is an
admirable aid to an actor in the acquiring of
necessary body control. The recital was touted as
merely an exposition of work in progress, but it
was more than that - it was a series of beauti-
fully constructed dance ensembles, enhanced by
lighting, costuming, and rudimentary musical
rhythm. It was sufficiently good to have a large
audience quickly interested and intrigued, and
enthusiastic at the close.
Divided into three parts, the program first of-
fered a series of elementary movement studies.
gradually increasing in complexity until finally
elements were combined into an ensemble of care-
ful and interesting composition; in the second
group, this matter of wholeness was continued,
with a good share of interpolated narrative in--
terest; in the final portion. Play Production
sought to show the effect of a combination of
dancing principles and pure dramatics in a scene
frnm J M , I T.ff 1 3'is', "A czcg fvrm Cindp~la-1V,"
which were solved in pleasant and stirring fash-
ion. The movement based on the Gershwin pre-
lude was comparatively simple, and striking for
that very reason: it involved subtleties of body
movement as a background for a rhythm main-
tained chiefly by head and shoulders. Miss Pray
and Mr. Pick were a lovely and graceful team
"Variations in Intensity", despite its elementary
character, was a thrilling movement, so well ex-
pressed as to elicit a sort of sympathetic vibration
from the audience. The "Study in Cannon Form"
presented again composition problems vaguely
reminiscent of those in "Political Meeting", al-
though in this case the motive was a serious one.
As an expression of the cooperative result of
dance and dream, "Cinderella's Dream" was ex-
cellent; but even considered apart from this aca-
demic problem it was peculiarly enticing. The
tone was prevalently light comedy, of course -
with touches of burlesque and slapstick that were
delicious. Miss Pray as Cinderella and John Sil-
berman as the king gain chief note here.
It was a demonstration which proves a point -
but it was also an evening of enjoyment.
AT THE DETROIT WILSON
"HEDDA GABLER"-A Review
EVA LE GALLIENNE'S Hedda Gabler is the type
of performance that makes one want to soar
headily into superlatives. She is so completely
Hedda that, as one person expressed it .between
acts, she makes your flesh creep.
"Hedda," wrote Hendrik Ibsen, "is about twenty-
nine. She is a woman of breeding and distinction.
Her complexion is pale and opaque -her eyes,
steel gray, express a cold, unruffled repose. Her
hair is an agreeable medium brown, not particu-
larly abundant. She is dressed tastefully in a
somewhat loose-fitting morning gown." That is
the exterior of Hedda as Ibsen conceived her -
but the interior is something else again. For as
Ibsen delved in his probing fashion into the soul
of Hedda, he developed a tigress, a horribly bored
tigress, who sought to escape from her boredom
through the expedient of dominating another life
It is this soul of Hedda Gabler that is so perfectly
exposed by Miss Le Gallienne; her presence when
others observe her is that pencilled in Ibsen's in-
troductory description, but when unobserved by
other characters in the play, she reveals the
cramped and straining nervous energy that makes
a tragedy out of what should be domestic comedy.
Ibsen, of course, is a master of dramatic tech-
nique -perhaps the master. In addition, he is
one of the greatest of dramatic psychological
analysts. Miss Le Gallienne, recognizing both of
these attributes, producing one of the most intelli-
gent jobs of acting and directing that I have ever
witnessed. By "intelligent" I mean exactly that -
it was a play of emotion guided by rationality in
the highest degree. "Hedda Gabler" is filled with
significant lines: every one of them was seized
upon a'nd made significant in the reading. There
is also a good deal to be read between the lines
in the stage business: there, again, the produc-
tion shone.
The individual performance of Miss Le Gal-
lienne completely dominated the stage -resulting
in a tendency to "keep your eye on the ball" so
deplored in athletic circles. However, there was
much to be noted in the other actors for one who
could temporarily tear his eye away from the
glowing principal. Paul Leyssac as the genial
George Tesman made a perfect foil for Hedda;
the serio-comic inadequacy of an untidy professor
steeped to the ears in scholasticism became, in
his reading, truth rather than caricature. It is
this tendency to over-emphasis that makes the
role a dangerous one. Josephine Hutchinson,
whose voice when she played "Alice" indicated
that she might be rather good at tragedy, proved
the point as distracted, naive Mrs. Elvsted.
Donald Cameron, as Eilert Lovborg, attempted to
be properly sensitive, but the result was some-
what too melodramatic.
Much is made of the distribution of furniture,
especially by Miss Le Gallienne as Hedda. The
set is a luxurious one, verging on grandeur. This,
however, does not prevent Hedda from peering
about chairs and shifting footstools with her feet
in a manner which furthers the characterization
rather than being ridiculous.
"Hedda Gabler" will also be presented at the
Detroit Wilson Theatre tomorrow and Saturday
nights, with "Alice in Wonderland" making addi-
tional appearances tonight and Saturday after-
noon.
Collegiate Observer'
By BUD BERNARD
A certain faculty member of Cornell University,
visiting at Syracuse University, was in the office
of an eminent professor there. They were dis-
cussing the teaching-situation in New York State.
The Syracuse professor was trying to show how
well Syracuse graduates had fared when teaching
positions were handed out. He was pointing out
how many Syracuse graduates the university had
placed. Upon the wall was a huge map of New
York State and at various ponts over its surface
were placed big upholstery tacks, representing the
hamlets where Syracuse graduates had found
work.
Looking up at the map, he made a sweeping
gesture, turned to the Cornell man and said;
"See there! Every single one of those pin-
heads is a Syracuse graduate."
* *
Northwestern University students are revolting
against the mobs of co-ed knitters who are mo-
nopolizing the seats at the public lectures. Now
that knitting is the vogue women come as early
as two hours before a lecture and knit while they
save themselves some seats. The student objec-
tions would not be so pronounced if the knitters
would stop their knitting long enough to listen
to the lectures.
- -* * *
Let your conscience be your guide. From
the University gof Wisconnsidn comes-"the ~story
h
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+ $.
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or any other thing of an equally remote
nature-or maybe even a room. The Daiy
Classifed Ads can supply you with scores
of applicants for that vacant room. Stu-
dents consult the Daily Classified Ads
before looking.
Zll irl ia t ilVr
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