"HARLEM ON PARADE" "MADAME SPY"

Time: Halfway through "Madame Spy," or spuriously 1916.

Place: at R.K.O. Keith's, Boston, or Vienna at noon.

Properties: A taxicab, a movie star, another movie star of the opposite sex.

She: (learning back on the cushions of the rear seat exhaustedly) Here is the map. The window is the grilled window on the second floor.

He: (driving the taxi, for the drives the taxi) Where are the papers? Do you know where the papers are?

She: In the cabinet at the rear; Captain Weber has the key.

He: (minatory) You must get that key!

She: (like a lay-figure having hysterics) Oh, my God, no! Everything that you have asked I have done, but I can't do this, I simply can't!

He (superimposing a sneer upon his menacing demeanour) You have fallen in love with that Austrian--(gargling the--). But you have sworn the oath with us! You shall get that key!

She: (All limp and resigned like a prone eggshell) Yes, I will. My God, why must you men wreak this savage destruction?

This transcript of the dialogue from "Madame Spy" is typical, if not literal. What more I could say would be only expansion and review of this damning evidence.

"Harlem on Parade" I liked; among other things it demonstrates that the miscegenation which will solve our soft-pedalled race problem will produce a hybrid people of wit, ingenuity and capability not at all inferior to the smugly haughty pure Americano, and comely to boot. Point for point this black-and-tan show surpasses the usual run of stage filler offered in the movie mosques; this is said with full consciousness that "Harlem on Parade" is in places unduly dull, smutty, and often merely nerve-shattering.