and afternoon tea and cocktails.
CATHAY RESTAURANT-—8th floor. Luncheon and dinner.
CHEZ ROVERE.—French cuisine. and Italian D. D's NIGHT CLUB—Russian and foreign style cuisine. Teddy and Ferry Cunna.
DEL MONTE.—Cabaret, Alabldo's orchestra, Floorshow—Nick and Nora Three Largos.
FARRENS.—Lantzoft ana Svetla and Kulpa Sisters. Kahn's orchestra Also the Nursery—Strasser's Quartette.
GAIETY.—Night club. Bob and his five Bandstars Russian and foreign cuisine.
HUNGARIA.—Continental cui: ne, Stella Szirmay's orchestra.
JESSFIELD NIGHT—CLUB.—Boder, Stern, Dutch and Feder.
JIMMY'S.—American style meals at all hours.
L'EVENTAIL.—Cabaret.
Floorshow.
Néumann's orchestra.
MASKEE-—Night club. Jones, Winner.
Mike and Ignatieff entertaining.
METROPOLE AOTEL—Grill and dining rooms for business tiffins and other occasions.
PALACE HOTEL. Tea lounge, snack Counter and grill room. Music during tiffin, tea, and dinner by a classical trio.
PARK HOTEL—Dancing nightly. Sunday tea dance. Itkis orchestra. Floor show.
PELICAN.—Night club and restaurant Dinner and dancing every evening.
Geza and Gino, Bocharoff, Schlittner and Bershadskaya.
SUN YA.—Chinese delicacies at tiffin, and dinner. of exact camera values. Th camera set-up can usually ed out only on the set The director tells the what effect idea then steps out of the the cinematographer ths verbal outlines with detailed exact shadings in the form an distances.
les. lens adjustment: and lighting It is best perhaps. ark he that the matographer—does not ate camera at all. He determines distance and angles, supervises the lighting. and then his two opi ative follow the laid down fof them the cameraman technician.
It is little wonder then. that many cameramen with such creative perience have graduated into the ranks of directors, Lee Garmes, Robert Florey. Victor Fleming. Ernest Schoedsack. George Hill and Mervyn Lo Roy. among others, began thei careers as cameramen. Hal Mohr. Paul Strand, Karl Freund and Edward Tissé alternate between photo-
Sternberg still handles the camera graphy and direction. Josef von
work on his films It is sometimes well to remember the axiomatic fact that the screen is primarily a pictorial medium and that its greatest single technical weapon is the scope and freedom of movement of the camera. In the early days of the screen the camera was almost always rooted to one spot for each scene at a height of four and one-half feet. Today the camera moves, assumes different points of view and shifts its gaze constantly to tell the story more effectively.
It is the adaptation of this characteristic freedom of movement and ability to record details that differen-fiates such camera-minded directo as Alfred Hitchcock and Lewis Milestone from the director who merely photographs scenes in a static and rather stage fashion. It is with such directors that the. cameraman finds fullest freedom of expression. as he can in dealing with provided which seen to matter much No Literary Classic one could as a liter classic version affords a ple ai this hampering han Wuthering Heights" Only the "her day Alfred Hitchcock ade The Lady Vanishe: many peo-plex opinion his best picture so far. "The Lady Vanishes" is first el cinematography. Tt moves quickly and easily; the dialogue never hampers the action: the pectater enjoys himself all time But in spite of iched parson a wicked squire the fact been cha riged satisfy certain susceptibilities. it is clear that the director has been hindered shy a feeling that he must include as much of the novel as possible. The result is slowness in the action and a general atmosphere of heav: tional melodrama. Mr Laughton's performance is outstandingly good and the cast reads almost ike a complete list of English stage
Text read from the printed page and cleaned; old type leaves the occasional error.