THE MICHIGAN DAILY

GAN DAILY

I

_

clear singing, the other harmonically moving,
both sounded in depth and strength. That the
Hammerklavier can be done on a modern piano,
Mr. Brinkman proved. The high register, and low,
sounded. Here again the adagio, with its difficult
and opposing ranges, came true in tonal beauty.
Aside from the fulfillment of stupendous basic
technical demands, the building up of the Ham-
merklavier, moved through a complete cycle to the
final chord.
Mr. Brinkman created from impersonal beauty, a
personal experience.

A.

JI

PuDuished every morning except Monday during the
niversity year and Summer Session by the Board in
mtrol of Student Publications.
Member of the Western Conference Editorial Association
d the Big Ten News Service.
$zsoehated (o~egiate $rczz
=933 r £oav-n D 1934 -
MEMBER OF THE ASSOCIATED PRESS
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r republication of all news dispathces credited to it or
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.icago.
EDITORIAL STAFF
Telephone 4925
ANAGING EDITOR ..........THOMAS K. CONNELLAN
TY EDITOR.......................BAtACKLEY SHAW
ITORIAL DIRETOR.............C. HART SCHAAF'
ORTS EDITOR ............ . . ....ALBERT H. NEWMAN
~MEN'S EDITOR-.....................CAROL J. HANAN
GHT EDITORS: A. Elis Ball, Ralph G. Coulter, William
G. Ferris, John C, Healey, George Van Vleck, E. Jerome
Pettit.
ORTS ASSISTANTS; Charles A. Baird, Arthur W. Car-i
tens, Roland L. Martin, Marjorie Western.
OMEN'S ASSISTANTS: (arjorie Beck, Eleanor Blum,
Lois Jotter, Marie Murphy, Margaret D. Phalan.
PORTERS: C. Bradford Carpenter, Paul J. Elliott,
'ourtney A. Evans, John J. Flaherty, Thompus A. Groehn,
ohn Kerr, Thomas H. Kleene, Bernard B. Levick, Davidt
:. MacDonald, Joel P. Newman, John M. O'Connell,
ienneth Parker, William R. Reed, Robert S. Ruwitch,
rthur S. Settle, Jacob C. Seidel, Marshall D. Silverman,
Erthur M. Taub.

ampus Opinion
Letters published in this column should not be con-
strued as expressing the editorial opinion of The
Daily. Anonymous communications will be disregarded.
The names of communicants will, however, be re-
garded as confidential upon request. Contributors
are asked to be brief, confining themselves to less
than 500 words if possible.
AN INVITATION
TO THE R.O.T.C.
On Friday and Saturday of this week the Mich-
igan League Against War and Militarism will hold
a state-wide, student conference to formulate a
plan of action against war. The League feels that
the success of the adopted plan will depend directly
upon the breadth of its support, and that the
R.O.T.C. members can and should contribute to this
support.
The reasons for joining the R.O.T.C. are varied:
they include a desire for credits, for pay held out
to seniors, and for a strong national defense. Cer-
tainly the first two motives should not stand as a
barrier to participation in the anti-war movement.
The last point exists as a motive for joining only
because of a one-sided, distorted view of the issues
involved. Men who join for such a reason should
instead be actively engaged in the struggle against
war, in order to construct a national defense based
on the real causes of war, by exposing and heading-
off those financiers who push their foreign inter-
ests and inevitably lead us into conflict.
In any case, R.O.T.C. members have no more to
gain from war than have those who are carrying
on the struggle to keep the United States out of
war. The next war will end as have all others, in
profits for a few and suffering for the rest of us.
The Michigan League Against War and Militar-
ism therefore invites all R.O.T.C. members who
are sincerely interested in anti-war movement to
engage in the coming conference.
Michigan League
Against War and Militarism
TheTheare

Screen Reflections
AT THE MICHIGAN
"MYSTERY OF MR. X"
Nicholas Revel ...... Robert Montgomery
Jane Frensham ..........Elizabeth Allen
The Michigan Theatre hits the bell for a box
of cigars this time with its comedy-mystery ro-
mance, "Mystery of Mr. X." It is a swell yarn and
is presented flawlessly. Robert Montgomery por-
trays a Raffle-like, gentlemanly second story man
who has to go to the extent of capturing the
mysterious Mr. X himself in order to clear himself
of the accusation. Of course he is not all milk and
honey either, being unfortunate enough to steal a
precious jewel on the scene of one of the murders.
I'm not spoiling the picture for you by telling you
all this. It is made perfectly clear at the film's
start. As for the rest, I can't tell. You see it's a
mystery story.
There are many things that contribute to this
film's success but foremost are two: the direction
and the dialogue. Edgar Selwyn has done a fine
job in giving to an old story and unoriginal situa-.
tions a freshness, spontaneity, and force which
many thrillers up-to-date have aimed at but
missed. No scene is wasted on irrevelent material.
He has taken each scene and built up a gradual
suspense with them that hardly lets down until
the very end of the film. The dialogue is well writ-
ten. That is to say, there is enough of it to keep the
story going and no more. There is nothing as im-
pressive as silence on the screen as one's eyes
stealthily follow the developing action. The acting
assignments are handled well by everyone.

MAY

i, i !

FESTIV/AL

MAY 9, 10, 11,12

V

Artists

LUCREZIA BORI .,... Soprano
ROSA PONSELLE .... Soprano
JEANNETTE VREELAND...
..... ..............Soprano
COE GLADE.........Contralto
PAUL ALTHOUSE ...... Tenor
ARTHUR HACKETT ... Tenor

THEODORE WEBB.. Baritone
CHASE BAROMEO.....Bass
GUILA BUSTABO.... Violinist
MISCHA LEVITZKI... Pianist
MABEL ROSS RHEAD. ..
.. Accompanist
PALMER CHRISTIAN Organist

Organizations
THE UNIVERSITY CHORAL UNION..................30 Voices
THE CHICAGO SYMPHONY ORCHESTRA...........70 Players
YOUNG PEOPLE'S FESTIVAL CHORUS............. 400 Voices
THE STANLEY CHORUS...............................Women

AT THE MAJESTIC
"EVER SINCE EVE"

**

Dorothy Glee Jean Hanmer, Florence Harper, Eleanor
Johnson, Ruth Loebs, Josephine McLean, Marorie Mor-
rison, Sally Place, Rosalie Resnick, Jane Schneider.
BUSINESS STAFF
Telephone 2-1214
AUSINESS MANAGER...........W. GRAFTON SHARP
CREDIT MANAGER............BFANARD E. SCHNACKE
WOMEN'S BUSINESS MANAGER.................
............................CATHARINE MC HENRY
DEPARTMENT MANAGERS: Local Advertising, Noel Tur-
ner; Classified Advertising, Russell Read; Advertising
service, Robert Ward; Accounts, Allen Knuusi; Circula-
tion and Contracts, Jack Efroymson.
ASSISTANTS: Milton Kramer, John Ogden, Bernard Ros-
enthal, Joe Rothbard, George Atherton.
Jane Bassett, Virginia Bell, Mary Bursley, Peggy Cady,
Virginia Cuff, Patricia Daly,. Genevieve Field, Louise
Florez, Doris Gimmy, Betty Greve, Billie Griffiths, Janet
,Jackson, Louise Krause, Barbara Morgan. Margaret
Mustard, :Betty Simondb.'
FRESHMAN TRYOUTS: William Jackson, Louis Gold-
smith, David Schiffer, William Barndt, Jack Richardson,
Charles Parker, Robert Owen, Ted Wohgemuth, Jerome
Grossman, Avncr, Kronenberge, Jim Horiskey, Tom
Clarke. Scott, Samuel Beckman,,Homer Lathrop, Hall,
Ross Levin Wily Tomlinson, Dean Asselin, Lyman
Bittmnan, John Park, Don utton, Allen lpson, Richard
Hardenbrook, Gordon Cohn.
NIGHT EDITOR: A. ELLIS BALL
Prison
Or Education . a.?
H OW SWIFT IS JUSTICE - when
the defendant is poor!
On Sunday William Jasinski stabbed Vincent
Demeskes, fellow-farm hand, with a pen-knife. On
Tuesday, Jasinski was sentenced to life imprison-
ment at Jackson State Prison.
Significant is the fact that the case of social
retribution was so quickly accomplished, but more
significant is the problem that men like Jasinski
present.
The deed was an impulsive one; Jasinski, al-
though a resident of this country for over thirty
years, knows but little English. Explaining his
deed to Sheriff's officers, he said, "He boss me
around. He milk my cow. I kill him." Simple, ani-
rnal explanation. Not malice, not murderous or
criminal nature was responsible for the deed, but
sheer ignorance, Unaware of the restraints of civ-
ilization, Jasinski, annoyed by the presence of
Demeskes, sought to remove him with animal
directness.
It is striking that one so uncivilized as he is
living in the midst of us,
Throughout the period of his detention prior
to the trial, Jasinski seemed a perplexed observer
of the machinery by which justice was to be done.
Ee stood dumbly mute while he learned from the
lips of his interpreter that he was to spend the
rest of his natural life in prison. It is likely that
hie understood little of the procedure, or that he
understood that the penalty was intended to serve
as a punishment for his deed. Certainly his knowl-
edge was so limited that he was not restrained from
he murder by a thought of consequence.
At any rate, he will know better next time. It
Would be impossible to do anything else with
Jasinski, legally. However, it does seem absurd
hat he should, like a dog who has displeased its
owner and been chastised, be penalized in such
a manner. What he needs is education.
And so this human animal was known by a
aame until he displeased his masters, when his
aame was changed to a number. Otherwise, every-
thing will be the same.
usical Events
in Review
WEDNESDAY NIGHT Joseph Brinkman pianist
played an all-Beethoven sonata program to an
elect audience in the Lvdia Mndaelshn Thaftr

t
r

Neil Rogers ............. George O'Brien
Elizabeth .................. Mary Brian
Horace Saunders ........ Herbert Mundin
"Ever Since Eve" is a bad title for this movie be-
cause it sounds too titlish. Nevertheless it names a
rather amusing comedy in which the action is ap-
parently written in to give the film feature length.
A young man finds himself the foster-son of
three gold miners who are all confirmed women-
haters. Forced to go East to buy some machinery
for their mine, he is accompanied by one of them
to see that he doesn't become the victim of a
woman. Although he is closely guarded he falls in
love with a gold-digging debutante. Always a
debutant. What has happened to all of our hard-
working dime-store heroines? They marry and re-
turn to his home in the West. From there on, the
film is one episode after another, loosely strung
together, in which Neil acts like a two-year-old who
has had his marbles stolen, and Elizabeth charms
and wins the love of his comic foster-fathers. A
snappy ending, however, makes up for the dragging
scenes preceding it and manages to send the audi-
ence home happy.
Herbert Mundin steals the picture as the foster-
father who accompanies Neil to the big city. This
little English comedian has stolen many pictures
'before, but none so completely as this one. Light,
breezy, and spotty, "Ever Since Eve" manages to
be average entertainment.
-J.C.S.

Choral Works

SONG OF PEACE (Ein Friedenslied) ...............Robert Heger
NINTH SYMPHONY ..................................Beethoven
THE SEASONS ......................................... Haydn
THE UGLY DUCKLING .................................English
BY THE RUINS OF BABYLON .........................Loeffler

Conductors

EARL V. MOORE ................................Musical Director
FREDERICK STOCK.. .................Orchestra Conductor
ERIC DeLAMARTER ....................... Associate Conductor
JUVA HIGBEE ....................... Young People's Conductor

T

AT THE LYDIA MENDELSSOHN:
"LITTLE LOVE" - A Review'
By JOHN W. PRITCHARD
VINCENT WALL'S "Little Love," as presented
last night by Comedy Club, should convince
campus sceptics that an award by the Hopwood
Committee is a true indication of merit. Mr. Wall
has written a smart parlor comedy, which differs
from many of its ilk in that it has serious dramatic
substance built into it as a basal quantity, rather
than merely superimposed. Many of the situations
in the play probably could not exist outside of
Hollywood press-agentry, and the characters, ex-
cept for two of the principals, are caricatured; yet
all these things are quite permissible in a comedy
which is completely unmoral, which points out no
"little lesson" (except possibly that incorrigible
people are incorrigible people; and that both sanity
and insanity have their place, as long as they don't
impinge on each other). The play is written for
entertainment purposes, and as entertainment it
is rollicking and sound; there are rough spots in
the dramatic art, but there are also many coups
of real value.
Perhaps it was the lengthy training period that
resulted in the Comedy Club performance being so
efficient; undoubtedly this excellency depended
much on the felicity of the directoral conception
and execution, which are always faithful and close
to the spirit of the script. At any rate, the dramatic
organization with the same personnel, showed im-
mense improvement over its mediocre work last
semester in "The Last of Mrs. Cheyney."
Mr. Wall presents, at the outset, Constance Allen
(Ruth Hussey) and Maurice Stanton, III (David
Zimmerman), who are living together in a love
unhooped by matrimonial coopering. Maurice is
something of a roue who lives pretty well beyond
his income; Constance loves him deeply, but, being
a stable sort of girl, is dubious as to the advis-
ability of her love. Her doubts are settled when
Maurice, for financial reasons, agrees to marry friv-
olous, peppery, scatter-brained Anne Whitney ( Ann
Verner). Hovering in the background is Guy
Burnham (Jay Edward Pozz), a promising physi-
cist who buried his talents in discontent when
Constance refused his offer of marriage a while
previously.
The playwright, following the tendency of mod-
ern literary and dramatic art, has cast morals to
the winds. There is no question in the play of
morality or immorality, so far as sexual relations
are concerned: the whole problem is fidelity to
one's self as opposed to desire for material gain or
love for another. In a sense, Mr. Wall has forsaken
reality in that he has substituted rather a higher
morality than present society is generally blessed
with. Yet only two of the characters-Guy and
Constance - display this advanced morality: the
others, while sexually only unmoral, are quite im-
moral as regards personal integrity. "Little Love"
becomes, however, true comedy of manners when
it develops that Mr. Wall condemns none of these
characters: he merely laughs at them.
Almost all of the performances were deftly
handled. Miss Hussey, as Constance, handled the
lion's share of the serious dramatic interest. She
displayed, when reading her lines, great concen-
tration, and a pretty full understanding of the use
of dramatic restraint; also, she knew a word when
she saw one. There was a certain Ann Hardingesque
aulty ahnnt hmr umsnrk - a n -4of cy-..

1. WEDNESDAY EVENING, 8:15

Liste~n,

AT THE WHITNEY
Double Feature
"HE COULDN'T TAKE IT"

**

Ray Walker

Virginia Cherrill

This is a story about a young good-for-nothing
who can't get along in the world because of a vol-
canic temper that erupts on the slightest provo-
cation. He tries a job in which he drives a bus, but
has a fight with one of the customers. Then he
decides to become a lawyer and goes to night
school - until he has a scrap with a professor.*He
finally finds a means of making a living in serving
processes for the law, and in this capacity gets
mixed up with gangsters and pulls a few heroics
that are rather amusing. The role of this sap is
played by a young man named Ray Walker, a
newcomer to the films whose personality and ap-
pearance should be good for several more pic-
tures to come. The feminine lead is portrayed by
Virginia Cherrill who is good to look at, but who
has very little chance to show that she can act (if'
she can). On the whole, "He Couldn't Take It,"
is not a bad moving picture, and it has moments
that are genuine as well as being entertaining.
"UNHOLY LOVE"
H. B. Warner Lila Lee
Lyle Talbot
This is pure, simple tripe! About the only thing
that can be said about "Unholy Love" is that it is
even worse than its title indicates. H. B. Warner's
three gestures - pinching his nose with his thumb
and forefinger, putting his hat on and taking it
off, and staring into the unknown-are about
the most noticeable of any attempts at acting in
the whole picture. Lila Lee has become too fat to
appear before a camera, and Lyle Talbot never
had any right to be there at all. As for the story,
think of the most awful melodrama you ever saw,
imagine one twice as bad, and you have a pretty
good idea of what "Unholy Love" is like.
---C.B.C.
"Unless the administration of the NRA is quickly
changed the theme song of small business will be
"We're Being Taken for the Last Roundup."-Sen-
ator Gerald P. Nye, North Dakota,
but she seems to have insufficient feeling for what
she is doing.
Mr. Zimmerman was as excellent as ever in his
presentation of youth and energy that are dis-
tracted, thwarted, yet still exuberant. While lack-
ing versatility, he has nevertheless that quality of
sympathetic projection that is absent in Miss
Hussey. Mr. Pozz was decidedly moving as a lost
:young man who is earnest, intellectual, and sin-

ROSA PONSELLE, Soprano
CHICAGO SYMPHONY ORCHESTRA
FREDERICK STOCK, Conductor- ic-tc
Prelude and Fugue ("St. Anne's") E-fiat major...nch c
Aria, "Bel Raggio Lusinghier," ("Semiraifide") .............oii
MISS PONSELLED
La Mer (The Sea)............................ .Dbus
From Dawn to Noon at Sea
Gambols of the Waves
Dialogue Between the Wind and Sea..Ved
Arias, "Adio del Passato" (La Travata")-............. .VBed
"Chanson Boheme" ("Carmen")-...-- ................
MISS PONSELLE
Rapsodie Espagnole ................. ....................Ravel
Songs with Piano :
Freschi Luoghi Prati Aulenti .................Stefano Donaudy
Marietta's Lied from "Die Tote Stadt".........Erich Korngod
Respetto..................... Wolf -Ferrari
S1 Tu Le Voulais..., ...................F. Paolo Tosti
My Lover He Comes on a Ski..-................Clough-Leighter
ROSA PONSELLE
Mr. Stuart Ross, at the _Piano
I1. THURSDAY EVENING, 8:15
JEANNETTE VREELAND, Soprano MISCHA LEVITSKI, Pianist
PAUL ALTHOUSE. Tenor PALMER CHRISTIAN. Organist
OHASE BAROMEO, Bass UNIVERSITY CHORAL UNION
CHICAGO SYMPHONY ORCHESTRA
EARL V. MOORE and FREDERICK STOCK, Conductors
"The Seasons" .. .... ......... ...-........ - ......Haydn
An Oratorio for Soprano, Tenor, and Bass Soli,
Mixed Chorus, Orchestra, and Organ
MISS VREELAND, Messrs. ALTHOUSE and BAROMEO and the
UNIVERSITY CHORAL UNION
Concerto in G minor for Piano and Orchestra, Op. 22 ....Saint-Sacns
Andante sostenuto
Allegroscherzando
Presto
111. FRIDAY AFTERNOON, 2:30
GUILA BUSTABO, Violinist ERIC DE LAMARTER and
YOUNG PEOPLE'S CHORUS JUVA HIGBEE, Conductors
STANLEY CHORUS
Allegro from Concerta No. 2 in F major for Trumpet ana
Strings ("Brandenberg") ...............................Bach
songs:
On wings of Song................................Mendelssohn
Hedge Roses ......................................Schubert
Blue Danube Waltz............J. Strauss
YOUNG PEOPLE'S CHOR......SSta
Introduction and Rondo Capriccioso for Violin and Orchestra,
Op 8 ............ ...... .. .....aint-Saeiis
Op. 28GUILA BUSTABO
Cantata, "The Ugly Duckling".T.....English
YOUNG PEOPLE'S CHORUS. . E h
First Symphony ... .... .......... ................. .... Milhaud
By the Waters ofBabylon ..... .......Loefler
THE STANLEY..............oUSe
Andante and Rondo-Allegro from "Symphony Espagnole"
for Violin and Orchestra, Op. 21.
MISS BUSTAB............a

find:

some of,

out today.

henchmen any place
on the campus this.
morning'. An' I don't
m i nd teIlli n' ya it's a'
swell issue, if, youse,
don't believe me I'1l
come down there
some night an' take

Ya kin

yousemuS:o
This here now May
Gargoyle is acomin'

me

ya all fer a ride.
it?

Git

.as

IV. FRIDAY EVENING, 8:15

LUJCREZIA BORI, Soprano
CHICAGO SYPMPHONY ORCHESTRA
FREDERICK STOCK, Conductor
antasie, "A Night on a Bare Mountain"...........Moussorgsky
Aria, "Vol che sapete" .RA... ..... Mozart
Symphony No. 4 in E minor, Op. 98 ..........Brahms
Recitative and Aria of Lia ("L'Enfant Prodigue")...........Debussy
MISS BORI
"Sailor's Dance" ("Pavot Rouge"). ..................... . Gliere
Aria, "Depuis le Jour" ("Louise") .................Charpentier
miss BORI

And now, ladis and
gentlemen, that you
have heard a bit un-
willingly from ou r
impetuous mechanic
that our May issue is
coming out today we
have nothing more
to say to you. Sorry
if the brute disturbed

V. SATURDAY AFTERNOON, 2:30

JEANNETTE VREELAND, Soprano THEODORE WEBB, BassU
COE GLADE. Contralto UNIVERSITY -CHORAL UNION
ARTHUR HACKETT, Tenor CHICAGO SYMPHONY ORCHESTRA
FREDERICK STOCK, Conductor
Overture to "Cariolanus," Op. 62 ...................Beethoven
Symphony No. 9, in D minor, Op. 125...........Beethoven
MISS VREELAND, MISS GLADE, MR. HACKETT, AND MR. WEBB
UNIVERSITY CHORAL UNION
Tone Poem, "Ein Heldenleben," Op. 40.................... ...Strauss
The Hero
The Hero's Adversaries
The Hero's Companion
The Hero's Battlefield
The Hero's Mission of Peace
The Hero's Escape from the World - Conclusion

yQU.

VI. SATURDAY EVENING, 8:15

JEANNETTE VREELAND, Soprano CHASE BAROMEO, Bass
COE GLADE. Contralto PALMER CHRISTIAN, Organist

1