Word: hula
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Dates: during 1920-1929
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...inventor would demand far more real labor and exacting research than the problem is worth. Alton Kimball ("Special Delivery", "Arlington Al", etc.) Marsters comes to the Stadium today. He is the hostile nicknamed star in the position which last Saturday was taken by C. K. ("Onward Christian") Cagle, the hula-hipped...
...does not love because he has been engaged to her practically since birth. Clara Bow, in the part of his true inamorata, finds ingenious and not unentertaining devices which permit this tragic possibility to be avoided. Through these devices the "It" motif, which sounded loudly through It and Hula, runs like the sound of ten trombones and a fiddle...
...Walter Huston, is one Nifty Millor, who is the manager as well as the chief adviser of a tent show in a travelling carnival; and the drama results from the unexpected appearance, during a summer vacation, of his son, who is being kept at a safe distance from the hula dancers and educated for the law. Nifty breaks off with his girl-in order to keep his son from finding out the state of affairs which prevails back-stage; and the girl takes her revenge, which is a bitter...
...Hula (Clara Bow). In this film, Paramount proudly advertises its vivacious actress as the "IT" girl. Never was actress in more desperate need of that celebrated quality. She must portray an Irish-born girl, "gone native" in Hawaii despite the fact that her father, a wealthy planter, entertains at his uproarious carousals the smartest Hawaiian society. Among the constant company is a slim siren of sophisticated manner. This only makes it harder for primitive Hula to capture the cold Englishman engineer who shaves every day, even in the jungle. To add to her difficulties, the thin-lipped Nordic already...
...Barker was written by Kenyon Nicholson, young Columbia University professor of dramatic art. Paradoxically, it falls short of technical efficiency the while it achieves a glorious fullness of unacademic atmosphere, characterization and emotional conflict. In the play, all the tent-show folk-hula dancer, snake-charmer, clown, odd-job men - accept with varying humors their haphazard, futile nom-adism-all except the barker, "Nifty" Miller, soul and essence of the entire raucous flimflam. He, chained like the others to the aimless tent life, holds fast to the idea that his only son will one day be a wealthy, respectable lawyer...