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Show VICTORY THEATRE After an absence of more than a year Helen Hayes has returned to the screen to score another great personal per-sonal triumph. Her latest picture, "What Every Woman Knows," the famous romance by Sir James Bar-rie, Bar-rie, comes to the Victory theatre Friday and Saturday of this week. Surpassing all of her previous efforts, ef-forts, Miss Hayes has achieved a new strength in emotional portrayals. Her appeal seems to reach out from the screen to actually stir the spectator in sympathy with the character she plays. Intensity and a firm belief in the motives of the story are evident evi-dent in her every action. The charming charm-ing plot concerns the efforts of a retiring re-tiring but capable Scotch woman to find romance, although handicapped by what she calls "lack of charm." When her family finally arranges a marriage contract with a promising young man in the village she devotes her life to seeing that he becames a success. As John Shand, self-centered husband who does not realize all the help his wife is giving him, Brian Aherne has an entirely new kind of characterization. Madge Evans makes a departure from the unsophisticated young ingenue roles she has played recently to portray Lady Sibyl, designing young siren. Others in the supporting cast who deliver notable performances are Dudley Digges as James Wylie; Donald Don-ald Crisp as John; David Torrence as the father Alex Wylie; Henry Stephenson Steph-enson as Sir Verables, English politician, politi-cian, and Boyd Irwin as Tenterden. Dash and spice and action will hold Jack Holt audiences spellbound or else in hysterics at the Victory, where "I'll Fix It," may be enjoyed Friday and Saturday as the other feature on the twin bill. Popular Winnie Lightner, Mona Barrie, brilliant bril-liant Austrialian actress; young Jim-mie Jim-mie Butler, rotund Edward Brophy, and that hawk-nosed reporter, Charles Char-les Levison, aid Holt in giving an evening of excellent entertainment. A new and indescribable thrill in screen entertainment awaits motion picture audiences who will see Col-lumbia's Col-lumbia's "One Night of Love," starring star-ring the gorgeous, glamorous, golden-voiced Grace Moore, which shows at the Victory Sunday, Monday and Tuesday at the Victory. Miss Moore, known in every city in the world appeared on the operatic and the concert stage, achieves the glorious heights of screen stardom as a result of her superb dramatic portrayal in this Columbia extravaganza. Her role is that of a young, mid-western girl who goes to Italy to study for an operatic career with the prize money she has won in a radio audition contest. con-test. There sho meets a romantic, debonair music teacher, splendidly interpreted by Tullio Carminati, international in-ternational stage and screen star, who immediately offers to develop her for the Metropolitan in New York. But with one reservation. i That their association remain untarnished untar-nished by even the slightest suggestion sugges-tion of a love affair. Needless to say, Miss Moore wins the acclaim of Europe and America for her glorious voice, but finds fame surprisingly empty without the love and caresses of her music teacher. In a fit of temper she leaves Carminati. But Without his presence her voice chokes in her throat and her heart refuses to ;in3. The climactic scene where Miss Moore stands on the stage of the Metropolitan to sing an enchanting aria, is one of subtle sentiment. It ;m?rks the highlight of a production that is a milestone in the history of the cinema. Irene Dunne is said to gain the peak uf her career as a dramatic artist in RKO-Radio's "The Age of Innocence", which will show Wednes-' Wednes-' day and Thursday of next week at the Victory. The story, adapted for the screen from Edith Wharton's Pulitzer prize novel of the same j title, is regarded as containing one of j the most sympathetic romance ever I written, dealing with the crucifixion : of a great, honest love upon the grim walls of Mid-Victorian convention. Miss Dunn's interpretation, according to Hollywood critics who witnessed previews, "makes tears popular again ' and disproves the theory that so-called so-called 'happy endings' are essential for box-office prosperity." Miss Dunne's work is enhanced by that of John Boles, her co-star for the first time since their international triumph as a romantic team in "Back Street." Julie Haydon, Thresa Maxwell-Con-over and Leonard Carey have fine roles and the remainder of the cast probably represents the most elite representation of the stage world ever to appear in one film . . . five celebrated players from the New York theatre guild. They are Lionel Atwill, Helen Westley, Laura Hope Crews, Herbert Yost and Edith Van Cleve. |