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A PLAYHOUSE MAGNIFICENT and enjoy this greatest of all achievements of the world of amusement, Grauman's Egyptian Theatre. A Traveler's Appreciation Saturated with the memories that have sprinkled man's mind ever since that time-dimmed age when the shep- herd kings raised the symbol of their power heside the Nile to displace the dynasties founded by Mene, Holly- wood's $800,000 film temple sends one's thoughts revert- ing down the misty corridors of achievement to a vision of Moses leading his Israelitish hosts through the watery aisle of the Red Sea, to the scenes in the days of Joseph and his faithless brethren, and, above all other recollec- tions, to the passionate love tryst that Antony kept with the fickle Cleopatra ere her deserting fleet brought about his ruin at the hands of Augustus Caesar, whose love the fair Egyptian siren schemed for in vain. One can look upon the hieroglyphics that stare forth from every nook and cranny, wall and ceiling of Grau- man's Hollywood theater and almost see the fondled asp sink its poisonous fangs in the soft bosom of the Nile's greatest vampire queen. And then, too, the mental eye may roam farther still and, after glimpsing the stern and sullen visage of the silent Sphinx, lead a psychic wanderer through the mazes of the Pyramids, w ith their memories of the mummified forms of Egypt's greatest kings. Then one comes to that blank wall beyond which the written record of man runneth not—that land of the vast unknown in which fabled Athis balanced the earth on his shoulders while the dust of prehistoric antiquity eddied about his feet. One of the principal features of the film temple which give added lustre to its beauty, is the variety of vivid colors used. The rich hues that made the land of the Pharoahs so romantic have been transplanted from that ancient realm to glorify the modern scenic beauty of Hollywood. NUGGETS FROM "THE GOLD RUSH TO eat a shoe is something of an achievement, but to eat a shoe artistically might be called a triumph. In what has been termed one of the cleverest bits of fun-making, calling tor real artistry, ever portrayed, you see Charlie Chaplin as the Lone Prospector, and Mack Swain as Big Jim McKay, blizzard-bound in the barren wastes of Alaska. Facing death by starvation, Charlie in desperation re- moves one of his big, worn-out shoes, and boils it w ith tender care. He serves it in typical Ritz style. The thought of eating a shoe is offensive, but the shad- ing of the subject, which so easily might be repulsive, is so deftly presented that you will remember this scene as a highlight of "The Gold Rush." THE quaint old white-haired character who does the clog dance in the dancehall scene in " The Gold Rush" is a famed centenarian member of Hollywood's moving picture extras' brigade. He is dadd] Taylor, and although he is one hundred years old, boasts of his youthful agility. Some of his stunts consist of shadow boxing, buck and wing dancing and turning cartwheels. He attracted Charlie Chaplin's attention while he was amusing the players on a set, and the master comedian immediately arranged a special bit for Daddy in the picture. Taylor is a Civil War veteran from Virginia, who, prior to fighting for the South, was a United States gov- ernment scout. His discharge papers attest to his age.