Variety (September 1925)

r M VARIETY LEGITIMAtE Wednesday, September 23, 1925 I u niUHical coineJy shouUl have. Its opening; night r.in uniil 11:40 wltli- oiit a dull nnoment anil with en- rols kept down except for "Happy." It is excellently produced-. The set- tlntCH hy P. Uodd Aeltenn.Tn lend tone and claHH to the show. There watt no Kkimplng in the propH and furniture—they cost real money. Hroadway knew 'Nanette" w.is n real show but was a bit perplexed in fijruring if the run.s out of town tirould hurt its eriK.igement here. It looks like a cinch on Broadway for the season. Ibce. COURTING A comedy In three acts by A. Ken ward Mai hews, enacted by the Anlii'iald Forbea S.oHlsh I'layera. I'r*»«ni<"d hy I.ee Shu- bert at the 4»th Street Theatre. .«5ept. 12. itr». lirant Jean tK>iiK:a( TV'ilson Klslc KerKUson Keiinolii Grant Andrew Orant J. Kev. J. Kilmarnock Jeaiinle Grant i<a«:;l« H ouaton..... Robert Undaay TBetty Lely ...Angus A Jama Nelson Rnmvay ....Julin Duncan , Jran Clyde ...Den7.1l M;ithrr .Vernon Sylvalne I>ee Bhubert iinpor:ed this octette of SCbttish Players from London uhere they had l>e«n appearing at the tiarrlck theatre, lie presented them to New York at the ISth 8tre«t with the posslhle hope thac he might successfully rev-eat tho voKue that "Bunty" had in thi.* country a few yeafs back. There i.s hardly a chance for this, as while there are some laughable momt-nts, some fairly snappy line*, the struc- ture of :he play Is suoh that no great success can be predicted. There 1«, however, the posiiibilit.v It m;iy linger for a Utile time, due to the fact the conip.Tny does not, froni indications, scale high in the matter of salaries and there is bu one set. From a casual bit of fig* uring the Shuberts will about brealc even on the house and show with each |4,000 week that the niece does. Anything over that, of course, will be velvet. The story deals wi;h the fact that even in a country rapidly becoming rich through exporting practically all the hard stuff Americans are drinking, they have their troubles with the flapper element, the Jazis dance crare and the young genera- tion that wants to overturn the cus- toms of their forbears. The scene Is laid in* the combina- tion kitchen, living and dining room of a Scotch farmhouse. It is the home of the Grants. There are the father, mother, son and daugh- ter. Likewise there ia a lodger, an. Kngliehman of ra:hcr prepo.tsesHing appearance. Kenneth, the son, Is in love with Maggie, daughter of a neighbor. She is a rather flighty girl of the flapper order. Because of this Ken's dad thinks she wotild- n't be the right sort of a girl for his boy. But in the end he is won over to permitting their engage- ment, likewise that of his daughter to the lodger, who is found to be the son of a wealthy English farmer. , The o'd man's consent, however, tcn't obtained until the flnal act and then only after the mother has slipped him a couple of wee nips from his favorite bottle. Possibly a couple of wee nips slipped the audience would give them a greater appreciation of the play. It woii'd at least give the iiouse atmonpiiere. Jean Douglas Wilson, aa the mother, easily runs away with the performance. She takes all the laughs but had an excellent feeder in J. Nelson Ramsay, the father. Densil Mather as the flappcrlsh Maggie also managed to score nicely. Playing the lnR»:nue lcav1 was Jean Clyde while Vernon, Syl- voine was opposite. Tlie chancer •.re that he will remain even af:er "Courting" has wended its way and Will be found in other productions here. Angus Adams, as Kenneth, ma''iuged well enough while John r>uncan was rather forceful. Betty Leiy hna but a bit. The technique of the entire com- pany seems rather old fashioned and forced at times. One could alnioHt hear the creaking of the lueohiinlcs of the play and the ac- tion of those interpreting it. If there Is anything coming along fri.>m tiie road that looks like a hi*. "Courting" won't be with us long. But It win Qerv«.iui,a stop-gap at the 49th because of the price at which it can be continued. Fred. dramatic openings few comm.uidcd as much re.spectful attention a.-j "Arms antl the Alan," tirst of the new series of Shaw pl.'iys to be pre- sented as a special subHcription cycle by the Oulld. Orlgin.illy sup- |)o8ed to open at the fcJiirrlck it was forced by the persistent success of the "(iai^ties" to fall back upon the organization's own and new theatre. In the caKting, and particularly In its direction, the Guild has up- held its iradltlons of almost fault- less Uiste nnd dlHcrimlnation. Very little concessioa has been made to those who ure neither subscribers, .Shavian enthusiasts nor lovers of the more subtle and quiet things in the drama. "Arms and the Man" unqtiestion- ably is quiet and almos: dull in a few places. Bookmen know it as one of Shaw's "pleasant" plays as differentiated from the unpleasant and usually more invigorating ones WTiere "What Price Glory?" w^a!- ioped the monster known as war right between the eyes and then stood gloating, the Shaw piece slyly and almost playfully pokes i: in its iiideous ribs, never quite los- ing that inborn respect for the uni- form and the flag. When it was written, more than a quarter of a century ago, it was probably considered somewhat dar-^ ing, due to the harmless innuendoes of the flrsit act in tho lady's bed- chamber. It may reiidl^y be be-- lieved that if G. B. S. were to writ" a play on the same theme today it would be magnificent in its vitriolic satire and force. That does not mean that "Arms and the Man" is any.hing less than scintiilnting In its sltuatiocis md diaJog. Its characters, like most of those of this author, are provoca- tive and exasperating. There is the usual vagueness as to what always motivates their action. Also a hun- dred chuckles in the pltiy but only three or four outrigiit laughs. Those too might have Wen lost if th-'' Guild direction.had not wished'ap- parently to emphasize them. The comic opera possibiiilies of the plot, recognized several years after it had been written by the librettist of "The Chocolate Sol- dier," constantly seep through, and in no other of his plays was Hhaw obviously ns much Influenced by the sparkling humorous style of W. S. Gilbert. The Guild In producing this play thin, since it is admittedly now one of Shaw's verv best, must havo re^lleed It would have to bo beau- tifully presented in every detail. If it were excellent in no other way the jterformance of Alfred Lunt alone would satisfy the theatre- goers. The role of the chocolate- munching, prosaic, SwLss soldier Ls not at all heroic and calls for a most adroit sense of comedy values. Lunt plays it deliclously, even in those scenes in the first act where the wretched weariness of the fugi- tive ofllcer lends a pitiful note to the otherwise gay story. Lynn Fontaine did not quite match her husband's wizardry, but was extremely effective. At first she impressed as uncertain of her- self, though in the last act her droll posing reached the comic heights. Pedro de Cordoba did not seem to be the ideal choice for ihe strutting hypocrite of a major, but the balance of the cast, particularly Henry Travers, Guild veteian, was letter-perfect. Philip Moeiloi's di- rection, Lee Slmonson's settings, and Miss Fontaine's appear.ince in ;he gowns of 40 years ago .nurpasdcd even the high standard of the Guild With some 11,000 subscribers to be taken care of the production Is a.ssured of a six weeks' run at least. It is probable that there are enough others desirous of seeing it to cause it to remain almost twice as long as tliat. Although It hardly qualifies as a commercial smash it adds one more to the fjulld's long list of worthy plnys, splendidly produced. ARMS AND THE MAN TlT'>-act comedy prenciitcd by t;ie 'I'he- ■ tri' l»ulld a.n oponiiig production of the Bernatd Shaw Heportory Kcason lit the tiul'd llieatre. beRinnins .Sept. IK Dire ■:e.l hy Philip Moeller. Spltlngs and coittuTiiea by l<e<< 8imonaon. RBi;,a I.ynn Fontaine Catherine I'etkoR Jane Whealley I^ouKa Stella iJirrlmore Captain Blunt»..hll Alfred I.u.it ]<usnl.-n OBlcwr M.nirlce McKac Nicola H. nry Trovers Miijur Paul P«tkoy Krncst CoaMOXt MaJ >!' Serglua 8«ranofr.. .ivdro ita '"orJooo A year ago the Theatre Guild waa regarded as a highly liao.> sting. In- telligent and enterprising dramatic rroup famed foe Its courage in pro- dui:ing "artistic" Buccesses, with the box oflflce angle consldentbly out of focua. Today, after "They Knew What They Wanted," "Tlie f»i»ard«- man," and the astonishingly suc- «fssf»il Uttio "Garrick OpIcHcb," the Ouitd stands as one of the dominant orKuiiifiations In the New York the- jire, oommerolally as well as intel- l<v(nally. Thtis. In • -W*«* he:t\y with vital i^^fi.^:^. -^paMrTm^'tfaiiMll-tfi ..I CAPTAIN JINKS Miiiili-al comedy In two nets produced by Kuiiri'n'i Schwab and Frank Mandel el the Martin b»'c)t Sept. 8; book by'fhr producers, lyrics by B. <i. D>'Hyiva and i.:iiro by I.ewls K. Otifler and Stephou .Jonas: staged by Milgnr MscOretfor. dances hy Sammy T.ee; Joe [•:. Brown, J. Ifar'ild Mumi> and L.oulti Ilrown featured, "'Mpfalii Kobtrt Jinks J. IlapOrt .Murray Meut. Cliarlts Martin. .. Max ilorfmiiti, Jr. Seaman Kredcrlck Ijin* .^^thllr Wes< Uelllartl irerr'M Ifartmar. Hap Jones Ji<e K. Hrowu A Federal Inspector Sam Colt A Policeman O. J. Vanasse -Mile. Suzanne Trentonl I^oulse Brown Itori'y Johnnon Murlon Hunshlne Annie. Trentonl's Maid Nina Olivette Mre. ll'i.Mispitr. Bella Poifunv 'I iuitM lteiK>rter Wally <'hrii-hiiiii World Reporter Hill Brown Journul R'porter Frederick Mnrniy .Vi'ws iteimrter J»'"U Forv!<'>r Band I.ead-r Jackie Taylor Kt>r :he basi.' of this new tnus- i<ai Schwab & Mandel UKcd Clyde Fitch's "Capt.Tlii Jinks of tiie Horse Marines," a light comedy. The story serves well enough as a background for the tunes, dances and novelties which supply the real meat of the attr.nrtlon snrt give it a go id ch.-ince for a profitable engagement. "Captain Jinks" opt^ned wiih a scale topiied at <"t.40, but, acting 011 tho advice of showmen, the scale wiin rt vised to 13.85. 'I'iiiee feature p'ayers In the cast ar»r .foe K. Brown, J. Haro:d Murray u'ld 1. lUlse Brown. Ktaiiding out V. iili them, however, «'•» Arfhui .•.«..' .■ .' '._tt!i....t ^j'. ■... I Wo.st and Nina Olivette. The sup- port holds also a comparatively new and good-looking Juvenile in Max HofTmau. Jr. *Bon of Gertrude Hoff- man), with Marlon Sunshine also counting. Lewis E. Gensler antl Stephen June's teamed in composing the mel- mllos, sUimpcd with "Charleston" all the way. That is distinctly true of "Fond of You," the show's best song number, delivered by Miss StinNhine, West and Hoffman. Bud DeSylva has supplied a number of corking lyrics which at times dis- tinctly stand out pver the tunes. Joe Brown and Miss Olivette cap- ture a nifty score with "Ain't Love Wonderful?" "How Do I Know?" •Why You Great Big Rummy Pm Telling You So." For one of the encores Brown tumbled through a trap, only to presumably Imme- dlntely reappear from a trap on the other side of the stage. A double was used but it got a real laugli. Brown and Miss Olivette had sev- eral good comedy bits together. In "one" she panned him for being cold though they are supposed to be en- gaged. Asked why he didn't like to kisa. Brown replied it was a waste of time and comically ended with: "And what do you get froqi kissing wet lips." The numbers were productive of a number of Individual scores. Brown's specialty dance camoaftei "Oh, How I Hate Women." Ar- thur West ambled over a winner twice but was the best with "You Must Come Over Blues," aided by Miss Sunshine. It is a very good comedy idea for a lyric. West u.«ied a wig to imply Samson and then shorn of the locks he become.s Nancy which was really laughable. In :he ilrst act West tmd Miss Stin- shfne bad "Sea Legs," one of the show's leading numbers. It was the best staged chorus dance num- ber. The girls came on as gobs. Using cleats the front line bent forward, weaving to and* fro In sintulation of sea sickness. West gave a good account of himself throughout, though inclined to shout his lines at the performance last Thursday night. Louise Brown looked sweet and though possessed of a wee voice she is among the dainties of danc- ers. Getting off with "Klki" which proved a good chorus number too. she scored in a specialty in the stcond act and came into her own In a toe exhibition which was com- bined with a dramatic ballet late in the going. J. Harold Murray, a young tenor who Is destined to singing fame, was the handsome Captain Jinks. His best chance was with "The Only One." There was one o:her ballad in the score, it being "I Do,' sung by Murray and Miss Brown. In addition to the orchestra there is a band used on the stage, the players first appearing as marines. The band is led by Jackie Taylor, a cocky little chap. "Captain Jinks" has comedy; it has dancing strength and enough good song numbers. It is youth- ful and fast for n»08t of the way and its producers are working on the performance, adding a new number or two last week. Right now It has enough entertainment merit to carry it along to a fairly good Broadway engagement. I bee. DIREST ENEMY Aluitlcal comedy In three nets. Book by Herl)«rt Fields; lyrics by Loreni Hart; uiUKic by Richard Rodifers; libretie directed by Charles Sinclair and Harry KorO. Dances and ensemble by Carl Hemmer. Pro<tuctlan staged under ptrsonHl super- vision of John Murray Anderson. Produfed by George Ford. Presented at the Knlck- erbo-ker. New Tork, Sept. 18. Helen Ford and Charles Purcell co-foatuied. Mrs. Robert Murray Flavia Arcaro Caroline Alden Gay Annubelle U arlan Williams Peg Jane Ove.-ton Jane Morrny Helen Spring Jimmy Uurke Andrew Lawlor, Jr. <*aptiln Harry Tryon John Seymour tSeneral Henry tninton Wllltom Kvlll Lieutenant Hudsby Arthur Hrown General Sir William Howe. .. .Harold Crane General John Tryon Detmar Poppen Captain Sir John Cjpcland. .Charles Purcell Betsy Rurke...' Helen Ford General Israel Putnam Peggy VVoodley Major Aaron Bucr Jaui'S irishman Morgan's Scouts: Private Peters.... Jack Shannon Private Wood Mark Truscott Privai« Iilndsey.....;. Percy French Knvoy :;-;■.... Frank J^ambert General George VVoahtngtoii. H. K. KIdridge Mr.-*. Robert Murray, on Murray Hill, and by instructions of (Jeneral George Washington were dealned by the zealous patriot until Put- nam's foix-es were jible to Join Washington In Harlem without considerable losHes. Tlie entire af- fair is handled in satirical fashion as may be gleaned from the opening chorus which has tho Colonial maidens chirping in unison "Hooray, we're gonna be compromised" after Mrs. Murray warns that the British have taken the town and "war is war," an old "blue" gag. This same brand of satire runs rampant throughout the first act, e.specially so when a rimner from (Jeneral Washington delivers the command- er's message saying that Mrs. Mur- ray ntay use her dim-retion as to what methods to employ In detain- ing the Britishers,, which precipi- tates the retort that the General has his vulgar moments. The detaining is accontpllshed thanks ;o Mrs. Murray's hoydenlsh niece Bet-sy Burke. Betsy succeeds and the success precipitates victory for the American forces. Both Mrs Murray and Betsy are cited by General Washington and Betsy's lover, a redcoat, returns to her be- cause of her signal patriotic dee4. Helen Ford gives a vivacious in- terpretation of Be:sy handling her dialogue with a piquant brogue, dancing gracefully and handling her songs in a manner beyond re- proach. Charles^l'iircell makes a dashing young British captain whose defeat at war brings succcbi* in lQve>. Others sh-iring honors of the evening were Flavia Arcaro as Mrs. Murray; Detmar Poppen. whose portrait of General Tryon re- minded of De W^olfe Hopi>er in his heydoy; Helen Spring as the charm- ing Murray offspring, and John Seymour. LorenB Hart contributod lyrics that are gems and Richard Rodgera a commendable score in which "Bye and Bye" and "Here's a Ki.ss" look like the outstanders. Despite Its Inability to make the hit grade there is much first class entertainment in "Dearest EJnemy" as well as a colorful eye feast th^' cannot afford to be missed. John Mtirray Ander.son and his associ- ates have done their bit in the staging. The show may build and will un- doubte<lly draw for a moderate period. In compaj-ison with several other current music.ils, it's a good buy at $3.30 Edba. Ha<l this one been able to main- tain the pace set in its first act it would have been an iindispute<l hit. The two succeeding acis take a down grade that will undoubtedly characterize this latest musical de- butante as a mildly interesting pie«'e which will provide entertain- ment for many despite the inability to qualify in ;lic success division. "Deartst Knemy" is the combined effort of tliat youthful trinity who fashioned "The Garrick Gaieties." They have evolved a musical thai sparkles but lacks that seemingly elusive i^ullop whlcli puts a show over. The story is founde<l upon an episode of the American Revolu- tion which provides reasonable ex- cuse for some excellent costuming. In this division the pro<lucer has creditably heid up his end. Thi.s ia also true of the two attractive sets. The action Is spotted during the era when the British landed in New York in 1776 nnd put the American .army to rout. The Brltiph ofllcer'^^ msde their wrty to tiie h.niie of KING SAUL Diania in four a.'tt and a p.ul<'gue by Paul lleyre prevnted by the Tlddlsh Art Theatre Play, rs at the Bayes Theutre Sept. 17. Directed by Maurice Bchwartz. Trans- lated from the German l^ Mark Sohweld. Seltlncs deidgncd by Robert Van Rosen. King Saul Maurice <^chwnrtz Jonathan I.«izar Freed Utchal Bel la Hellarlna Samuel , Chaim Shneyur David '^lark 81'liwfld Agag I..eonid Snegoft <biu>r Julius Adier AmH teidore Cashier Manr«b Morris Straa«berg Phaltl Abraham Teltelbaum The Witch of End jr Anna Appel Her Daughter Anna Teitelbauro For several seasoiis Maurice Schwartz' Yiddish Art Playtrs, have appeared at the little tl.eatre In Madison Square Garden. With the demolition of the building, t.iey have been forced to .seek other quarters. The Bayes .may be a fortimate ;'lec- tion, as It has succeHsfully housed several somewhat kindred organiza- tions. Schwartz goes in for tlie heavy art stuff, even to the settings and cos- tun\«s, v/^hich. are e ttravagant and modern. Thus, even f<)r those who know not a word of Yiddisli, there is plenty to enjoy in a performance of this sort. The acting, particularly, calls for admliation. At best Viddi.sh is a giittcral and harsh-sounding language. , Conse- quently, beauty in a production of this sort must be obtained by grace of motion and gesture. Th. t the players mannged not only to .>btaln this, but also strength, poise and professlon.il stage bearing as well, indicates Ihelr nmirkablo thesplan gifts. ^ An estimate of the play, as a purely literary work, is most difficult if the dIalofT is not understood. It is by Paul Heyse, a'VTi«satlle t^erinan writer of much distln<'tion, who won the Nobel prize for literature in 1911. The biblical subject en>hra<e8 the first Book of Samuel In that period when the Children of Israel were waging war against the Philistine.'?. Heyse draws something o' a parallel between the lives of King .Saul and the King Lear of Shakespeare. Both are fighting the curso of old age, dlsiUuBionid, broken In pov. er and almost deserted. In Saul's case it is his jealousy and feir of voung David, fresh from his conquest of the giant, tjollath, that makes mis- erable his las^ days. The most dramatic m.inicrit ■ omes in the second act when Saul is being soothed by the psalms of David plays upon his h.nrp. Just as he Is being lulled to rest .-nd his tv.o chil- dren. Jonothan and .Michal, the lat- ter David's wife, feel that he Is nver his rage, a furious chant Is he.Trd outside fhc palace. It Is ".>^*anl hath slain his thousands and David lii.s ten thoiisand.s," the worst in.^ult thst ctii be hurled nt the king. 1 he sud- den contrast Is tremendously effec- tive. The pe'formnnce wns niarr»'d in only one de.'sill, but It v.-:!s a si.rtuim fault. The c!;ar,ict»r of l)a\»d In the second most important In tha play and it might have bee niada into a stirring role. Mark S< Inveld may have adapted the piece into Yiddish with the hand of a master but as an actor playing the pui-t ^j David lie was indescribably ba<L partlctjlurly when compared to thf others in the cast. Thus, In every way save th.it on* unfortunate instance of ml.scusting the production is of extremely high grade. There are miny HobrewH in New York, who are hungry for thii sort of better class play In their racial language, and uniess the high scale of $3.30 top counts too heavily, th<» piece should enjoy a run. BROTHER ELKS Walter Campbell presents a come<ly b* Larry B. Johnson. At the Prlnn-ss 'hiairt, Wv-nna Philip t.'ampbell Judge Evans John M. Kllu* .Mnid Virgin: I Ilichmor.t .Ten Bddlngton...,. 'I.itv M-I..riii) Mri. RaddlKe Mil Ired Hontliwlrli Woodwnrd KIcliirl Vljyfielj Made.... .' Hel.'n Burch Martin Young Ueorge \V. Williams Junior KuR.T^ Head Jim I.e.. Ln.lhard Sen. Dowllng Bar- CaruUt Blanche Florence Crowley .Mayme I'^'^ra I>ani«| This one pussyfooted in (there wasn't even an ad in the evening I»aperH the day of the opening) and presents an imbroken line of names to Broadway unknown—producer, auil|or nnd players. It turned out to be a not unfunny comedy, thoughr It was de\oid of any Kntirlcai significance s'lch as the name might have suggisied. It la a straight story with no p4(int or moral, and several times slops to exude propaganda for the K. P. O. K. In the last act there is a blast of oratory ^regarding the loyalty and fine fellowship of the Elks. Other- wise tlie piece is rather lacking in teeth. The tale Is about an engineer who can make fortunes for others but not for himself, so his brother Ulks Incorporate him, whereafu'r they own him, body, soul and froduct. There are invowed financial machin- ations. A dirty "senator" is the villain, nnd a golf-fiend made up to look like John D., is Uie luoney-guy. The corporation asstmies dictator- ship over the hero's love affair, too, thus giving it the feminine element. There are numerous healthy, wholesome laughs. The acting isn't ns hard to take as might be feared, and neitlier l.s>the writing. But the wholu thing is unimpor- tant, never reaching the strata of good or bad. It may meet with some success through its appeal to the Best People On Earth, who, if they aren't directly back of It. surely are directly addressed by it. It Is even reported that every man connected with the cast and staff Is a Brother Klk. The siiow has the prosiMcts of a rather promii^ing moving picture. The Princess seats less than 400, so if any business conies at all, there should be a falr-siy.ed life. Bttt this iiiece will hardiv shoulder Its way Info the hit-and-run co!- un'tn of Hroadway. ., OUTSIDE LOOKING IN Thrc.'-nct cimedy by Maxwell Andtu-son, presented Kept. 7 for run at the «ireenwich Village I'lH} house by Ma.-Oowsn, Jones and O'Neill. Based on Jim Tuljs .\uloblog- raphy, "Borgars of I.lfe." Dircctrd by AugUMtlii Duncan. .Seitlngs by Cleon Throri<mortoit f helly , Wallace HouM }*'li Raphr.el Byrnes Kubln s,i;n Martin J'"'"' Harry Blakemore r.lttle Red JamcH Cagney fc;''n« BlI th Daly P»^<iy Retina id Barlow Hnpper bsrry MH.-oilum Arknn<.a<i Sm»| e D;ivid A Leonard Dkl-»lmma Bed Charles A. Blckford Deputy <;. n. Taylor Chief of I'olk^e Walter Downing Roilioad Detective Morris Armor I'kle "Sj d.iiy Marhat BMiid Sims., RlrhH-d SuHlvan Brakenian George Westiaks Another Deputy. .Frederi'-k C p.i.NBrd. Jr. Sheriff j,,t,n • n:ctt«y Miixwell Anderson's understand- ing of those atrange forces that go to make up human drama Is wgaln evidenced in "Outside Looking In," as it was in "What Price Glory." Comp.^^^^»ons with the great war play are Inevitable and ihe newer show suffers, even though it is In itself a peculiarly gripiilng and meaty piece of work. Both "Glory," written l>y Ander- son (in co!lHl>oration with Laurence StalliWgs), and "Outside Looking In" are es.sentially hard, inas<;iiilri«i rib.iid c.niedles, "with their rough humor merely a coating for the deep current of satire and hi terncss undorneath. L-ist season's success, however, dfalt with n. subject of mucli greater import than tlie p*""* hftps f.'i.xcin.'Jting h!it not Inirinsically vitJil I'ves of tnimps. The iippoiil of "Outside Looking In" is nn>ch more limited. It, 00, Is <'hi.l'y cpirt(id!c, nicfe or less r.T.mi>linfrly setting forth flie ch.ir.ic- ters rf tlie 12 hfinan doicli.'is m-'ik- iiig up the chief |hjriitin ut iit* cast. Anderson mii«t know the hobo. ''^ has iiicbiiitMl every iy l>e innii the cnide but ps» (i»lo-int< II-c: .lal s"aP box ora nr to the .xn;)"!!, >v i-tlii»*ss beggar nnd the jol-y, >■ reii(>gi,de. .Against th's wttirt'in*^ ta • urrny has li»en bac't' !•• sloiy (t.dt V ''i e 1: ■ ■■ >•' • C(in' liiii'l •It) p:;;' ,,■.•-free .),. iidia i.i d «< ., .'tld