Clara Bow – We Are Movie Geeks

WINGS – A Look Back at the 1927 Oscar Winning Best Picture

Article by Sam Moffitt

I have a personal connection to World War One combat aviation, a personal and family connection. My Uncle Millard Brooks, my maternal Grand Father’s (Eli Brook’s) brother and my mother’s uncle, (thus he was my great Uncle,) volunteered for the American Expeditionary Force (AEF) when America finally got off the fence and committed troops to what was then called The Great War or the War to End all Wars (yeah, right!)

Uncle Millard had worked in Grandpa Brook’s blacksmith shop, at the crucial time when blacksmithing (shoeing horses and other work with iron) was giving way to mechanical work (repairing the engines in Model T Fords and other early automobiles).

I’ll give you the short version of Uncle Millard’s story (he wrote many letters home, my Mother, Nell Allen, years ago collected his letters into a book, fascinating stuff.) Millard Brooks was such a good mechanic he was sent to a special school in Scotland to learn how to time the engines on the bi planes when they were first used in aerial combat. If you have ever seen the Disney animated documentary Victory Through Airpower you may have seen the problem they had with those early planes. With the machine guns mounted right behind the propeller, the propellers got shot off. It was determined, mostly through trial and error, that if the engines were timed properly, the bullets would pass between the propeller blades. It was crucial that this be done every time a plane was taken up in formation for combat use.

My Uncle Millard was one of the mechanics who timed those engines. Thus he lucked out and almost never went near the trenches, where British, French, Canadian, Belgian and finally American troops, and other countries, wallowed in mud, inhaled deadly gas and were routinely slaughtered in mass attacks that could only be called suicidal.

Yes, Uncle Millard was lucky, he spent most of his time at what were called aerodromes and was so good at his job he would time the engines for other countries’ aircraft. Some combat aviators asked for him personally before they flew into German territory. As my Uncle Charlie Brooks (Millard’s brother) stated years later “Millard Brooks was one of the men who founded the US Air Force, before it even had that name. He laid the foundation for what the Air Force would eventually become, a respected branch of the US Military in its own right, to stand with the Army, Navy and Marine Corps.’

I say all of this as introduction to my thoughts on one of the most astonishing silent films I have ever seen. How Wings escaped me all these years I do not know, but I was so excited to finally see it I have watched it three times and could watch it many more, and probably will.

I have loved silent films as long as I can remember. I grew up watching television shows that were made up of clips from silent films, Fractured Flickers, and Who’s the Funny Man? Movies like Robert Youngson’s Days of thrills and Laughter and The Great Chase and When Comedy Was King.

My sister Judy gave me a Christmas present in 1967, a book called the Parade’s Gone By written by Kevin Brownlow, a history of silent films. (One of the best gifts I ever received, thank you Judy!) I read that book cover to cover at least three times and dipped into it repeatedly and read certain chapters by habit, again and again, kept it for years. And tried to watch all the silent films I could, all my life long. And I have grieved for years that most of the silent era is gone, well over 75 per cent of the movies made up until 1928, when sound started coming in, are lost, forever.

So, I finally have made it to Wings and again, it is astonishing, the pity is that many people in this country would not bother to watch it, silent, black and white, old. They don’t know what they are missing!

The story is simplicity itself, two young men from a small Midwestern city, one working class, Jack Powell (Charles “Buddy” Rogers) and one from a wealthy family, David Armstrong (Richard Arlen) are both in love with the same young woman Sylvia Lewis (Jobyna Ralston). Sound familiar? Sounds like a cliché? Well Ladies and Gentlemen, boys and girls, this is the movie that invented that cliché, this was the movie that set the standard for all air combat movies that were ever to be made.

But Wings’ character relationships are even more complicated. Jack’s best friend, literally the girl next door, Mary Preston (Clara Bow) is obviously madly in love with him. The doofus misses every signal she gives and instead pursues Sylvia despite the obvious heartache it causes for Mary. So instead of a simple love triangle we have a, what? A four sided triangle? A “love square” doesn’t have quite the same ring to it. It would be even more complicated if David had a crush on Mary and she ignored his signals. But, no both of these guys are crazy about Sylvia, despite the fact that Mary would obviously be more fun to hook up with.

At the very start Jack and Mary modify a run about car (a Ford?) and basically turn it into a hot rod. Mary paints a shooting star on the side. When America enters the war Jack and David both join up and volunteer for aviation school. Jack leaves the car with Mary and asks her to take care of it.

In a series of misunderstandings and coincidences, the kind that only happen in the movies, Jack takes a locket from Sylvia, with a note meant for David and thinks he has her affection. He decides that will be his good luck charm during the war. We are asked to believe that Jack never opens the locket and reads the note meant for David, through the entire war.

David is given a tiny teddy bear by his Mother, which becomes his lucky charm. At flight school they share a tent with a young Gary Cooper, in his film debut, who tells them a charm will do no good, not a rabbit’s foot, or a lucky coin, not even a Bible. When your time is up, that’s it brother. Cadet White (Cooper) then immediately gets in his plane to do some training and crashes. Cooper is on screen for not even 5 minutes but audiences were enthralled. His movie career started right here, and on rerelease Gary Cooper’s name was featured prominently in the advertising.

There is quite a bit of Wings that is silent era silly, for instance the comedy relief from El Brendel playing a “Dutchman,” although his routine after sound came in was to use a Swedish accent. The less said about his contribution to Wings, the better. And what exactly is funny about someone having a Swedish accent?

But it’s in the air that Wings really takes off and soars (I am so sorry, I could not resist!) The flying scenes truly are astonishing. The Paramount DVD has only one special feature, a making of documentary but it is invaluable. The technology was not there to film an air combat movie at that time. William Wellman and his crew had to invent the technology to get the job done. The actors had to learn to fly and cameras were mounted in front of the cockpits that the actors could run by push button. When you see Arlen or Rogers or any of the stunt and Army pilots in the cockpits, they are flying the plane. We never ever lose track of who anyone is in the air or what is happening.

Some of the pilots were Army but several were stunt pilots and the barrel rolls and spins are gut wrenching. The movie does not shy away from the horrors of war. When pilots are hit they cough up blood, one stunt pilot put his plane into a spin that everyone, on the ground and in the air, thought he could not pull out of, but he did it. The proof is in the film.

This is one war movie that managed to get one of the women to the front. Clara Bow’s character Mary, instead of sitting at home and weeping and worrying about Jack volunteers to be a Red Cross Ambulance driver, since she not only took care of Jack’s car, she learned to drive it and work on it.

I have to admit I am late to the party where Clara Bow is concerned. I did not see any of her films until I got a copy of IT, the movie that made her a star. The documentary for Wings advises us that at the time this film was made she was the biggest box office attraction worldwide, bigger than Chaplin, Keaton, Lon Chaney, Mary Pickford, Douglas Fairbanks or anyone else.

I find it amazing that modern film makers have never attempted a bio picture about her, she came to Hollywood after winning a beauty contest, overcame a horrible background and struggled with health issues, both mental and physical. In Wings her acting is often over the top silent style but damned if you can’t take your eyes off her.

Once she gets to the front and drives her ambulance she positively kills it in her Red Cross uniform. She looks infinitely more military and squared away than any of the aviators, with her garrison cap, black dress uniform, knee high lace up boots and black leather gauntlet gloves (oh be still my heart!) The only thing missing is a side arm on her hip. No, women were a long way from being in combat but the mere fact that she is a driver puts Wings years ahead of other silent films. Largely forgotten today except by history buffs like myself, women were not expected to be able to drive back then. Women were not even supposed to want to know how to drive. There were “experts” who warned that a woman could not be trusted behind the wheel of an automobile,(too emotional) and that the act of shifting gears and steering a vehicle might……damage a woman’s ability to bare children. Seriously, there was such “thinking” in those days.

The main promotional photo shows Clara with her arms around both male leads, there is no such scene in the movie. For the purposes of movie coincidence and misunderstanding the men get liberty and go into Paris for a good time. I have already praised the aerial footage in Wings but there is an amazing shot in a night club scene. The camera trucks forward THROUGH a set of tables, each with customers sitting at them. I’m damned if I can figure out how it was done, not sure I want to know, seriously, the camera goes right through the tables, not around , not over. Just as an aside, at one table sits two mannish looking women dressed in men’s clothes.

It’s here in the night club scene that Wings gets ridiculous. Mary is there and keeps trying to talk to Jack. We are asked to believe that Jack is so hammered he doesn’t even recognize Mary. Seriously? In another set of coincidences and misunderstandings Mary is sent back to the states and Jack narrowly misses getting into trouble.

When the movie gets back to the war it is incredible. The major set piece begins, the battle of Saint- Mihiel, and it is literally jaw dropping. Hundreds, if not thousands of extras run across no man’s land, while explosions go off in every direction and the planes constantly dog fight or strafe the men on the ground.

Here is where tragedy inevitably strikes. David is shot down in German territory and despite being wounded manages to steal a German plane. Jack spots David’s plane in the air, and, well, you can guess the rest. On the ground Jack learns the truth, not just about who he has shot down but who Sylvia back home was really in love with.

I would say there is a happy ending with Jack and Mary back home, seeing a shooting star, which means he can kiss the girl he loves. But Jack would, I can guarantee, carry a load of guilt the rest of this life, as well as shell shock from having survived the biggest war in history (to that point in time.)

The restoration job on Wings is incredible; I have never seen a silent film look so immaculate. The images just glow, very few scratches, dirt or splices. And the entire movie has been tinted, gold for daylight, light blue for night scenes. In the aerial combat scenes when planes catch fire the flames are animated, and colored red and yellow. Machine gun bursts are red, sound effects are added in every scene involving armaments.

At the very beginning we are treated to 8 different versions of the Paramount logo, from the current brand to the original logo for the movie, apparently in chronological order (you wouldn’t think there would be that many ways to portray a mountain!) The newly restored version has a full orchestra musical track and there is an alternate version with pipe organ music, as would have been played in most theaters in 1927.

The making of documentary is invaluable, one of the best I have ever seen. On hand is William Wellman Jr., a good film maker in his own right. We learn that Paramount had a lot riding on Wings, Wellman had only directed a few movies before he got the green light. For the aerial scenes he drove the money men crazy, having his crew stand around for days……waiting for clouds. Wellman and his cameramen knew, if there were no clouds there would not be enough perspective, the planes would just look like dots. As one film critic points out, it makes sense, seeing clouds in the background, and especially seeing the planes flying in and out the clouds makes for compelling action scenes.

Wings famously was the first movie to win the Academy award for best picture, and Wellman and almost none of the cast were at the awards. The Academy Awards were completely different in those days, winners were announced well before hand, there was no opening of envelopes, no speeches, just dinner, a few clips of the winners when they were announced, and “everybody go home!”

With a new movie about WWI recently released, Sam Mendes incredible 1917 and the recent English documentary They Shall Not Grow Old (I highly recommend both by the way) it’s only right to take a look at a movie made when the Great War was a very recent memory, for the audience and for many people involved in the making of it. Wellman himself had been a combat pilot, many of the aviators in Wings had also served. Wings was a major hit, it was the Jaws, Star Wars and Saving Private Ryan of its day. It played at the Criterion Theater in New York City for over two years! In an early wide screen process called MagnaScope (I love that name!)

For all true Movie Geeks Wings is essential!

Top Ten Tuesday – THE TOP TEN BLACK DRESSES IN THE MOVIES

The Little Black Dress—From Mourning to Night is a free exhibit currently at The Missouri History Museum (Lindell and DeBaliviere in Forest Park, St. Louis, Missouri). The exhibit runs through September 5th.

The Little Black Dress – a simple, short cocktail dress—is a sartorial staple for most contemporary women. Prior to the early 20th century, simple, unadorned black garments were limited to mourning, and strict social rules regarding mourning dress were rigidly observed.Featuring over 60 dresses from the Missouri History Museum’s world-renowned textile collection, this fun yet thought-provoking exhibit explores the subject of mourning, as well as the transition of black from a symbol of grief to a symbol of high fashion. You’ll also see fascinating artifacts—from hair jewelry to tear catchers—that were once a regular part of the mourning process. Plus, you’ll have the chance to share your own memories of your favorite little black dress and even get the opportunity to design your own dress! (details on the exhibit can be found HERE)

A good dress does more than look pretty on screen. It creates some of cinema’s best moments.The movies have always influenced style and fashion, so we decided, to tie into the exhibit, that it would be fun to list the ten most iconic black dresses in film history (and the actresses who rocked them).

10. Clara Bow in IT (1927)

Coco Chanel introduced her famous ‘Little Black Dress’ in the mid-1920’s. Before then, women only wore black for mourning. It was after the premiere of the 1927 silent hit IT, that the black dress became acceptable evening wear. IT is beloved by silent movie fans, but remains popular with a wider audience and continues to be culturally relevant because of costume design that was influential both then and now. IT helped pave the way for black to become the beauty basic it is today. The film starred Clara Bow as a shop girl who is asked out by the store’s wealthy owner. As you watch the silent film you can see the excitement as she prepared for her date with the boss, her girlfriend trying hard to assist her. She was trying to use a pair of scissors to modify her dress in order to look more “sexy”. This movie did a lot to change society’s mores as there was only a few years between World War I and Clara Bow, but this movie went a long way in how society looked at itself. Clara was flaming youth in rebellion. the personification of the flaming Roaring Twenties, and the title “IT” was as a euphemism for “sex appeal”. Travis Banton was the star costume designer at Paramount during the studio’s heyday of glamour and sophistication in the 1930’s and was well-known for designing costumes for Mae West and Marlene Dietrich.

9.Marilyn Monroe in THE ASPHALT JUNGLE (1950)

Not an iconic dress (in fact, no costumer designer is even listed in the credits), but THE ASPHALT JUNGLE is notable in that it’s the film that introduced audiences to Marilyn Monroe (not her first film appearance but her first substantial part). She played Angela Phinlay, a “keptie” (kept woman) who appears in a this sexy black dress. Marilyn stole every scene she was in despite not even being listed on most opening night posters. Marilyn didn’t like wearing black in films, and later in her career, when she had more control over her wardrobe, she was rarely seen in it.

8. Liza Minnelli in CABARET (1972)

Okay, Liza does not wear a black dress in CABARET – but she did rock this iconic black ensemble. The outfit — a bowler hat and vest (with no shirt) atop hot pants, garters, stockings and boots — was heightened by its blackness against Minnelli’s ultra-white skin and siren-red lipstick. To achieve the authentic look of pre-Hitler Berlin’s “divine decadence,” director-choreographer Bob Fosse chose a German production designer and costumer. Charlotte Flemming had grown up in the Weimer Berlin of the movie’s setting and spent her entire career in the German film industry. She never “went Hollywood.” Minnelli, of course, was born there, the daughter of Judy Garland and director Vincente Minnelli.

7. Bette Davis in NOW VOYAGER (1942)

NOW VOYAGER (1942) was a fashion film if ever there was one, and one which emphasized the power of clothes. After all, the sack-like dresses that the troubled Charlotte Vale (Bette Davis) wears reflect her psychological state, and as she is transformed from browbeaten nervous wreck into a worldly woman with a newfound confidence. Her outfits – designed by the great Orry-Kelly (who was the head costume designer at The Muny Opera in St. Louis in the early 1930’s) goes from dowdy spinster to chic fashion-plate. So much so that she attracts a suave man on her maiden voyage as a new woman. In NOW VOYAGER , Davis played Charlotte Vale, a frumpy spinster who lives under the control of her cantankerous mother. With the help of a kindly psychiatrist, she has a mental and physical makeover and becomes a glamorous woman who is able to help out the similarly oppressed young daughter of the man she loves. Davis led the way for actresses who “ugly up” as a fast track to Oscar nomination, starting the film in sensible lace-ups, glasses and beetle-brows. Her transformation resulted in stunning chiffon gowns and glittering capes which prove that nobody needs to show a lot of flesh when a 1940s number with a gathered waist and shoulder pads will do the job. To play Charlotte before her transformation, Davis asked Orry-Kelly to pad her figure to suggest extra weight, then she had makeup artist Percy Westmore give her thicker eyebrows. Her look in the film was a compromise. Originally she had wanted a more extreme look, but Wallis considered it too grotesque. Orry-Kelly was the chief costume designer for Warner Bros. Studios from 1932 to 1944. He worked on more than 300 films during his career.

6. Joan Crawford in MILDRED PIERCE (1943)

Joan Crawford was always known for her broad shoulders, a style that was displayed to perfection in MILDRED PIERCE, the 1943 film that won the actress her only Oscar. Housewife Mildred Pierce moves from aprons to fur coats after her husband leaves her and she opens a successful restaurant. Joan played the title character, a selfless mother who does everything she can to provide for her two kids, but her oldest daughter Veda (Ann Blyth) is an ungrateful brat who looks down on Mildred for making her way up in the world through simple hard work and dedication. She doesn’t, however have any problem spending mom’s money, and after a while starts smoking and speaking in pretentious French phrases. Everybody sees that the daughter is bad news, but Mildred assures them: “You don’t know what it’s like being a mother. Veda’s a part of me. Maybe she didn’t turn out as well as I hoped she would when she was born, but she’s still my daughter and I can’t forget that.” During filming, director Michael Curtiz fought with the actress over her wardrobe. She was told to buy clothes “off the rack” to look like the working mother the film was about. But Joan refused to look dowdy, and had Warner Bros. costumer Milo Anderson fit the waists and pad out the shoulders. Anderson was a top wardrobe designer at Warner Brothers from 1933 to 1952 and worked on costumes for such classics as ADVENTURES OF ROBIN HOOD (1938), TO HAVE AND HAVE NOT (1944), and YANKEE DOODLE DANDY (1942).

5. Grace Kelly in REAR WINDOW (1954)

Alfred Hitchcock’s REAR WINDOW (1954) is not only a masterpiece of suspense; it’s also something of a fashion show with Grace Kelly’s Lisa Freemont trotting out one gorgeous summer ensemble after another for both our and James Stewart’s delight. After all, as James Stewart’s character Jeff Jefferies points out – this is the Lisa Freemont “who never wears the same dress twice”. The costumes in REAR WINDOW were designed by that doyenne of movie designers, Edith Head, who was nominated for 28 Oscars and won 8 times. According to Jay Jorgensen’s book, Edith Head – The Fifty Year Career of Hollywood’s Greatest Costume Designer, Hitchcock’s directive to Ms. Head was that Grace “was to look like a piece of Dresden china, nearly untouchable”. And yet, for most of the movie, it’s Lisa who is trying to seduce the incapacitated (with broken his leg) Jeff … For her second seduction scene – where she’s thwarted by Stewart’s obsession with his neighbors and the possibility that one of them has bumped off his wife – Lisa is a vision of sophistication in a black chiffon dress and ever-present pearls, a triple strand necklace.

4. Anita Ekberg in LA DOLCE VITA (1960)

There is sexy, and then there is Anita Eckberg, whose voluptuous figure splashing around the Trevi Fountain in Rome in Federico Fellini’s 1960 masterpiece LA DOLCE VITA, while wearing that bellissima black dress, was the ultimate symbol of male fantasy. The film won the Academy Award in 1960 for Best Costumes, thanks in large part to the black sleeveless gown that Miss Eckberg displayed in that famous scene. Costume designer Piero Gherardi worked in neo-realist Italian cinema from 1954 to 1971, notably on four key films by Federico Fellini. LA DOLCE VITA, 8 ½ (1963 – which also won him the Oscar), NIGHTS OF CABIRIA (1957), and JULIET OF THE SPIRIT (1965).

3. Rita Hayworth in GILDA (1946)

Before there was bad girl nightclub singer Jessica Rabbit there was Gilda, a bad girl nightclub singer played by Rita Hayworth in the 1946 film of the same name. Wearing a black strapless dress, Gilda ends her marriage to casino owner Ballin Mundson (George Macready) with a striptease to the song “Put the Blame on Mame.” That little number was so explosively sexual that the name Gilda was written on the first nuclear bomb tested after World War II. In GILDA, Hayworth was the ultimate femme fatale, the woman every man wanted to have. The role sealed Hayworth’s status in Hollywood, and gave her an unforgettable movie legacy. According to the posters, ‘There never was a woman like Gilda’, and clearly, there was never a wardrobe like hers either. Designed by Jean Louis, her costumes cost $60,000 dollars, and it was money well spent. The movie was a critical and commercial success, no doubt thanks to Gilda and her perpetual near nakedness – for despite that pricy wardrobe, a surprising amount of Gilda was on show. Jean Louis designed a wardrobe that allowed Gilda to flash her shoulders, and hinted at her bosom through translucent tops. Hayworth’s beauty was the stuff of pin-up legend and in 1949 her lips were voted the best in the business by the Artist’s league of America. Asked what held up the famous black satin dress, Hayworth answered “two things”.

2. Audrey Hepburn in BREAKFAST AT TIFFANY’S (1961)

There’s almost no black dress more iconic than the French designer Hubert De Givenchy’s sheath that Holly Golightly, played by Audrey Hepburn, wore to go window shopping at her favorite jewelry store in BREAKFAST AT TIFFANY’S (1961). Paired with a pearl necklace, long black gloves, a tiara, a pair of dark sunglasses and a cup of deli coffee, Hepburn’s look continues to define New York (and Hollywood) chic. Givenchy made two versions of the famous black gown gown: one which was completely straight and was for the actress to wear as she stood still outside Tiffany’s, and one which had a slit so she could walk in it. She’s glimpsed wearing the same dress again a few scenes later. Indeed, one of the surprises about BREAKFAST AT TIFFANY’S is that there aren’t that many different dresses – the same ones pop up more than once, but with different accessories. BREAKFAST AT TIFFANY’S is undoubtedly the film which cemented Audrey Hepburn’s status as a style icon and linked her forever more in the fashion-conscious public’s mind thanks to De Givenchy, who had previously dressed her for SABRINA and FUNNY FACE.

1…….And Your Little Dog Too !!!!!

WINGS Screening With Live Organ Music March 8th – St. Louis Theatre Organ Society

“Hello Yank, welcome to a very merry little war. And now how about a wee drop for the King and Uncle Sam?”

The 1927 silent classic WINGS will screen at 2pm on Sunday March 8th at the St. Louis Scottish Rite Cathedral Auditorium (3633 Lindell Blvd, St. Louis, MO 63108) with live organ music by Dr. Marvin Faulwell.

In 1927, the first Best Picture Oscar went to WINGS, a thrilling silent WW1 drama from director William S. Wellman. WINGS told the story of poor boy Jack (Charles Rogers) and rich boy David (Richard Arlen) who are in love with the same woman, which causes the two to become bitter enemies. When WW1 breaks out the two are thrown together and quickly become friends, although David is too nice to let Jack know that the girl back home doesn’t love him. Clara Bow plays the girl who is madly in love with Jack but he’s too blind to see it. It’s rather sad that this film is basically only remembered for winning the first Best Picture Oscar because it’s an incredible film from start to finish. The action stunts are incredible to watch and the scenes in the sky are just as thrilling. The majority of the 139-minute running time is all the action and there’s never a dull moment. One has to imagine what it was like making a film like this in 1926-27. Cameras were massive, heavy and hand-cranked. Consider this when viewing this amazing film’s flying sequences. Both Rogers and Arlen are terrific in their roles and never miss a beat. Bow steals the film as the playful girl in love with Jack. The way Bow moves has enough sexual energy that you can’t help but be fixated on everything she does. Her “nude” scene in front of the mirror is certainly among the highlights of the film. Henry B. Walthall appears briefly as David’s father and Gary Cooper has a very impressive, if short, role. Also worth mentioning is the greatly comical scene involving the champagne bubbles. In the end this is another shining example of the mastery of silent cinema and just more proof that you don’t need a computer to make great action scenes. Now lucky St. Louis silent film fans will have the opportunity to see WINGS on the big screen accompanied by live organ music.

The one-of-a-kind event takes place Sunday afternoon, March 8th, at 2:00 PM, when the St. Louis Theatre Organ Society will be a sponsoring the showing of WINGS. Dr. Marvin Faulwell will play his original score on the 4/53 recently restored Kimball Organ in its original installation at the St. Louis Scottish Rite Cathedral Auditorium. Admission is FREE, but donations will be accepted and highly appreciated. Proceeds will be shared by SLTOS and The Walker Scottish Rite Clinic for Children.

Parking is available in the Rite’s garage behind the building (off Olive Street) for $10.00, so carpooling to the theatre would make sense. The only access to the Scottish Rite is a walkway from the third level of the garage.

The St. Louis Theatre Organ Society (SLTOS) was formed in 1962 as a chapter of the American Theatre Organ Society. They were the 15th chapter of the national organization, and although small in numbers, they are still active in the metro area. A large part of their purpose is the recognition and preservation of the unique instruments and style of music known as Theatre Organ. SLTOS owns, maintains, and plays the organ on the third floor lobby of the Fabulous Fox Theatre on a volunteer basis to spread the joy of the music to the community. The organization also owns the Theatre Pipe Organ installed at the City Museum in downtown St. Louis.

Admission: Donations accepted for the benefit of St. Louis Theatre Organ Society (501c3) and the Walker Scottish Rite Clinic for Children (501c3). (http://www.srclinic.org/)

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