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Page 6 The Southern Israelite JEWS IN THE SHOW WORLD It is fortunate that the Jewish New Year practically coincides with the close of the dramatic season—or, rather, that it is the signal for the opening of a new one. One is thus able to review all the events that have taken place in the theatre since last September and to comment upon the part played by Jews in that realm known as the show world of which all the world are devotees and only a chosen few the players. The show world has many branches to meet the varied tastes of those who seek amusement. The films, the legiti mate stage and vaudeville are, how ever, the outstanding media through which the great masses find their en joyment. What part is played in that world by Jews, the historic pantomi- mists in whom tragedy and comedy are traits of character and not ac quired habits? There was a time when one could recite the names of theatrical produ cers and film magnates of Jewish ori gin and thus convince the world that Jews dominated American amuse ments. But repetition has made the list grow stale, and sharpening com petition has weeded out the unfit and the unworthy. Today two names stand out in the movie world, which has, as a result of its overwhelming growth, al most swept the legitimate stage into oblivion. Those names are: Warner Brothers and William Fox. Both of them have taken advantage of the revolution created by the “talkies” and have emerged as the gigantic figures in a field where only the titan ic can persist. The Paramount Organ ization, headed by Adolph Zukor and Jesse Lasky, is still one of the leaders, but rumor has it that the Radio-Keith- Orpheum combination will soon swal low Paramount. David SarnolT, by the JOSEPH M. SCHENCK way, is an important figure in the RKO concern. Warner Brothers have shown them selves to be master showmen. It was they who, exactly three years ago, had A Review of the Stage and Screen tty HENRY MOM OR Every verson visits the theatre or the movies some time. The d f si re to escape fiom the prosiness of existence has built up the American tfow bun- ness, the greatest in the world. Here is recoided the P, (l V , the films, the legitimate theatre and other phases of this s/iowworW. enough confidence in the future of the “Talkies” to make large investments and to trust their entire product to the new invention. With “The Jazz Singer,” which was A1 Jolson’s first starring vehicle for the movies, War ner Brothers inaugurated the reign of the “talkies.” It took time for the more timid film producers to follow, and those who were slowest lost out. What the “talkies” have meant to the movies, and what the “talkies” have meant particularly to Warner Broth ers is indicated in the fact that while in 1926 the assets of the brothers were ten million dollars they are today $142,000,000. True, there were merg ers with concerns like First National and Fabian-Stanley. But the “talkies” made it necessary for the others to join the Warner Brothers. William Fcx today can very prop erly be called “King of the Movies.” Under his name is gathered the great est aggregation of film companies the industry has known. He not only owns the William Fox Film Company, but the Fox Movietone News, Metro-Gold- wyn-Mayer Film Co., the International Newsreel, the great chain of Loew theatres and a number of real estate concerns of enormous value. Fox, inci dentally, also was wise enough to put his faith in the “talkies.” He with his “Movietone” and the Warner Broth ers with their “Vitaphone” have made screen history in the last three years. But despite the dominance of these Jewish names among the owners Jews have really been unable to penetrate the movies as such. Let not a naive reader hasten to the conclusion that anti-Semitism is rampant. The fact of the matter is that as a rule Jewish faces do not screen well. When they do their possessors are given all the encouragement in the world. Those who are somewhat skeptical on this point should go to see George Jessel in one of his films. He is a pathetic sight, really. The prominence of his name on the stage made him an in valuable asset in the “movies”—and that is why he is being used. And, of course, he sings very well. The case of George Jessel is an in dividual one, as is that of A1 Jolson. The latter has made more millions for \\ arner Brothers than any screen player has made for any film com pany. In “The Jazz Singer,” “The Singing Fool” and “Say It With Songs” A1 Jolson has turned out three productions which have shown not on ly that he has retained his fine voice but that he is also a great actor. Fannie Brice and Eddie Cantor were also seized upon by the movies; and both have made good. Brice’s face is not beautiful, but she does have a marvelous voice. Cantor is still the great comedian. These two and Jolson are at the present American Jewry’s greatest contribution to the talking films. When the writer says that Jews have been unable to penetrate the movies he means on a large scale, as in the vaudeville business, for exam ple. There are a number of them who have done exceedingly well panic, larly now when their stage is allowed to be utilized. Perhaps o- of the best talking voices in the film! is possessed by Frank Reicher, the m of that great German Jewish actor Emanuel Reicher. Reicher’s versatil ity has been shown in a great numb* of films. He will be remembered v the barber in the Fox production “Napoleon’s Barber” which was writ! ten by that clever Jewish epigran. mist, Arthur Caesar. Reicher did «. ceedingly well, too, as the prosecuting attorney in “His Captive Woman." Milton Sill’s film, as well as in ”Thf Bellamy Trial.” But it would take too long to enumerate the various films in which Jewish actors have ap peared. The Yiddish stage has given at least one success to the films, in the person of Paul Muni, previously work in “The Valiant" was hailed a< known as Muni Weisenfreund. Muni'i masterly by the critics. A startling comeback w r as staged during the put year by Lila Lee. Several years age she was a star, and then blazed out But the “talkies” have revived her. have even given her extreme youth Those who wish to be convinced of her remarkable voice and fine personality should see her opposite Richard Bar- thelmess in “Drag.” The virtuosity of Joseph Schild- kraut seems to have got lost in the films. His work as one of the c stars in “Show’ Boat” left much to be desired. Carmel Meyers is still pursuing the men with her charming smile and lithe body. Miss Meyer? (now Mrs. Blum) has an excellent voice, incidentally. Other Jewish film players who deserve mention are Ber. Bard, Lina Basquette, Raymond Keane, Louis Wolheim, one of the ADOLPH ZUKOR illians the screen hj* ^ •nard Siegel, " ® t illia^