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News and Views of Literary London

Date: 04 February 1934

HERBERT W. HORWILL

Herbert HORWILL

Anthony Adverse

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STOCK EXCHANGES NEXT.

Date: 04 February 1934

From The Chicago Daily News

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Dog Owner Bites His Way Into the News Columns

Date: 05 February 1934

Bitten by his dog

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TOPICS IN WALL STREET.; News, Comment and Incident on the Stock Exchange and in the Financial Markets.

Date: 04 February 1934

Speculative enthusiasm flared up anew in the two-hour trading period on the Stock Exchange yesterday. The turnover was 2,081,000 shares, almost double that of the previous Saturday and the heaviest for any Saturday since July 22 of last year. The market closed strong and active after an irregular and hesitant opening.

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TO FINISH MEXICAN ROAD; Highway Between Texas Border and Mexico City to Be Opened in October -- Other News

Date: 04 February 1934

Stretch through Mex, from Laredo, Texas, to Mex, D F, will be opened in Oct

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FILM NEWS OF THE GERMAN CAPITAL; The Widely Read Story of Horst Wessel, the Nazi Movement's Almost Legendary Hero, Reaches the Screen

Date: 04 February 1934

WHEN in the Summer the first announcement came that the Volksdeutsche Film Company had bought the rights to the popular story "Horst Wessel," by Hans Heinz Ewers, the rest of the film producers were kicking themselves for having slipped up on this fireproof chance. For at that time no one foresaw the changes in the development of the national government which were to come later. In those early days everything Nazi in book, theatre, film, was necessary propaganda. Quantity alone could give weight to the political steam roller. The making of a "Horst Wessel" film would surely have full governmental support. Was he not their officially sanctioned idol? Did not the mediocre song he had composed become their revolutionary chant? The program proves that earlier support: Supervision and music, Ernst Hanfstaengl (Hitler's press chief); SA adviser, Richard Fielder (Nazi organizer); a number of Nazi military organizations and, above all, the actual police force.Then about six weeks ago came the previewing of the film by a Nazi compendium with Dr. Goebbels at its head. One could now afford to be fastidious—the film was forbidden "for the heroic figure of Horst Wessel was incompetently interpreted, thereby endangering the interest of State and German prestige." Two weeks ago the film censor announced his okay on "Hans Westmar" (phonetic substitute for "Horst Wessel"), yesterday we had the première at the Capitol and today it has the unreserved approbation of the government. It proved to be a hundred percenter.Jazz and Communism.It shows the student, Hans Westmar, returning from a genial waltz loving Vienna to an objectionably international Berlin, where, in a bar, a Negro jazz band plays havoc with the martial rhythms of "Die Wacht am Rhein" and a Spanish dancer toys with the morals of a somewhat less martial burgher of the democratic year 1929. It shows communism as a corroding force and its head, a Russian, a serf to Moscow. Hans Westmar sees delivery from all this and more in the tenets of National Socialism. He becomes active. His organizing gifts are extraordinary, but he believes the party's growth to be in the masses. So he gives up his studies and becomes a manual laborer. He goes to live in the East of Berlin, the stronghold of the Communists. They plot against him, for he succeeds in winning over too many of their members. He is shot, and, though he lingers on a few days, the wound is fatal—he dies.Emil Lohkamp, who takes the title part, has the physical propensities of a fanatic. His abrupt manner of acting and speech underlines this to an almost unsympathetic degree. This must have been the cause of Dr. Goebbels's unfavorable verdict. Irmgard Willers, as the submissive creature of the Communists in love with Hans West-mar, outlines figure of such frail intensity in this first screen appearance that one may hopefully add her to the scant list of the more personal film faces. There are tow parts taken by Jews: a university professor advocating internationalism, which Siegmund Nunberg plays with direct simplicity; the other, a Communist leader and member of the Reichstag, is mugged by Hugo Döblin, who invests this rôle with all the approved bugbear characteristics — a contemptible performance. Neither of these two actors is mentioned in the program. The audience found cause for a laugh when the screen showed two bearded Jews watching a street fight, their whole attitude expressing a childlike and worried wonder at these combative doings—a reaction unthinkable outside the Reich's border.There is an intensely dramatic but very much abbreviated shot of a "Mensur," the German student's sabre practice, with the opponents standing close, deftly parrying heavy blows. A close-up shows their cheeks pouted. I take it this is to protect their teeth in case of cuts, which are frequent. But it did look comical and little in keeping with the seriousness of the situation and the dangerousness of this drill, which has caused the loss of so many lives. The ban which since the war had been put on this "exercise" has recently been lifted. Another one of the numerous Nazi reversions to pre-war practices.The most realistic and therefore the most vital parts of this picture are its mass scenes. The supposed to be historically exact street fight as the funeral cortège passes the Karl Liebknecht house, the Communist headquarters, is brutally convincing and gives one the sensation of an eyewitness. In the transition from "Horst Wessel" to "Hans Westmar" the film loses continuity and takes a knowledge of the book too much for granted. Because of this and in spite of an overabundance of close-ups, the intent of the picture is reversed—the story of Hans Westmar merely becomes background to a forcefully documented national movement."Bedside," which is about an X-ray photographer and the fortune he made by cultivating his professional manner, will be turned loose on Broadway soon by First National. It features Warren William and Jean Muir."The Heir Chaser," James Cagney's latest film, will be released by Warner Brothers under the title, "Blondes and Bonds." This is scheduled for an early Broadway showing. Bette Davis and Alice White are the women in it. Out in Hollywood Mr. Cagney is preparing to begin work with Joan Blondell in "Without Honor," which marks the first Cagney-Blondell collaboration since "Blonde Crazy." Most of the action takes place in a small fishing village and Lloyd Bacon, the director, has been hunting good location scenes along the California coast.Harry Wilcoxon, the young English actor, has gone to Hollywood to become Marc Antony in Cecil B. De Mille's "Cleapatra." Although he planned to spend several days in New York seeing plays and the sights, the studio demanded his presence and he sternly boarded a plane for the Coast. Mr. Wilcoxon holds a British aviation pilot's license and plans to do all his traveling in this far-flung country by plane. Just before leaving England, he played the leading rôle opposite Evelyn Laye in a British film, "Princess Charming."

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ALL GRAINS RISE; SENTINIENT SHIFTS; Speculative Dealings Are Not Heavy, but No Pressure Appears in Markets. CROP NEWS LIFTS WHEAT Major Cereal Up 1 to 1 1/3c; Corn 3/8; Oats 3/8-1/2; Rye 1/4-1/2; Barley 1/4-1 1/4.

Date: 04 February 1934

Special to THE NEW YORK TIMES

CHICAGO, Feb. 3. -- Local sentiment changed markedly today on the Board of Trade, resulting in a better class of buying of grains. While speculative interest was only moderate, the markets met no pressure.

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AUTO MAKERS PUSH STEEL PURCHASES; Pittsburgh Mill Activity Increased Sharply as a Result of Their Buying.

Date: 05 February 1934

Special to THE NEW YORK TIMES

Rept on 30 stocks for Jan

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