Moving Picture News (Jul-Oct 1913)

26 THE MOVING PICTURE NEWS PICTURE MUSIC By ERNST LUZ It being more or less apparent that the makers of fihn are drifting away from the sensational film story, which is commendable, making dramatic effects of less value, it becomes necessary that we give more attention to the better music, which is positively essential to the quiet, educational non-sensational picture. Music will be a prominent factor in pictures of this kind and it will not be ragtime. Of forty releases seen in one week there were but five that contained any violent action of any account, and none in which the action was spread throughout the entire film. To the student this will be a godsend, for when the picture contains no rhythmic suggestions, and the story proper is continually interrupted by some ridiculous gun-play or other impossible violent action which does little more than excite children, advanced musical capabilities could be of little value in picture playing. It should be gratifying to the musician to note that every advance in the production of pictures is a step toward the ultimate combination of the picture and music. It is deplorable to note how many pictures offering opportunities for better acting are gotten away with in the old style of posing, but there is no doubt that this will soon wear off and the directors will see the error of their ways. It is a fact that when you see a picture done by a cast that is known to adhere to the art of acting you always find something enjoyable in it, regardless of the subject matter or story. Setting music to pictures made by a capable cast is a natural consequence, while those lacking inspiration are nearly impossible. To accompany the non-violent picture without making your music tiresome, it is necessary that you classify your repertoire, beginning at a central point, determining the different degrees of temperament until you arrive at the two extremes, plaintive and hilarious. To determine these different degrees of temperament is entirely a matter of personal inspiration. It was my good fortune about fifteen years ago to have in my orchestra two Leipsig graduates who had cultivated a jocular habit of classing every number that they played, giving a humorous anecdote as to the composer's probable inspiration. While at that time it was the students' diversion and considered humor, to-day in picture playing these jokes become a study, which if taken up properly are of greater scope and value than the study of harmony, while not so difficult to master. The more important in setting music to the non-violent picture is the avoiding of a tiresome sameness in your numbers, which can only be done after you are familiar with the temperamental value of the numbers you play. While it would be difficult, still this could be done and all numbers used for the entire picture might be in ^ or 4/4. All worthy pictures concentrate at certain points on the prime thought or moral the producer wishes to convey and if the music is to assist, tension numbers must be properly placed at such points. To make such high tension numbers effective they must be surrounded by other lighter numbers, thereby allowing your feature numbers to stand out prominently. Neutral numbers are possibly the more difficult to determine upon. In testing your numbers you will find it a good rule to classify all numbers as neutral which do not impress you sympathetically or stand out as being frivolous or boisterous in temperament. While at first thought such numbers may be considered valueless, yet it is such numbers that give the proper weight to your feature numbers used. They are to the musical setup pictures what the enharmonic is to the advanced musical composition. It should be remembered to avoid the use of all numbers that are not strictly melodious unless they are of temperamental value. It might be well for the exhibitor who has an orchestra of some size installed to inform himself of the real value of the educational picture, which I class as neutral, in selecting liis programs. It has come to my notice in houses where picture music efforts are made that this picture is often passed by on account of not suggesting musical rhythm. In reality this is the picture's value to the setting of a musical program. If an orchestra is to be properly appreciated by the audience, it must feature itself as well as the picture. The genuine educational picture gives the musician any opportunity he may desire for the rendition of classics or large standard compositions, knowing that there is no possible picture rhythm to disturb the temperarrjent of the most critical in the audience. From personal expenence I can vouch for it that in such pictures you can get your heavy numbers over and have them appreciated. Of such pictures there are none made to as great an advantage as the usual Tuesday's and Friday's release of the Pathe Freres Company. These pictures are educational to the very letter of the word, and I have always found them appreciated. The addition of good music makes them doubly so. The educational releases of other companies, while interesting from a picture point of view, do not offer the same musical opportunities, as their subjects seldom run over a few hundred feet, during which time it is hardly possible to render any musical composition of consequence. The time is here when the average and more intelligent of the masses are finding their amusement in the picture theatre, and probably form the greatest percentage of the present patronage. These patrons will not only appreciate such pictures, but the better music as well. You will also find that when it is necessary to add a scenic to complete a Pathe neutral release it always is a genuine scenic, depending upon its exceptionally good photography and coloring to gain its merit. The time ought soon arrive when each and every picture program will have at least one such subject. May the Pathe Freres prosper in their earnest endeavors and continue to be as was recently mentioned to me by a man greatly interested in the "Picture Theatre," viz., to the picture industry what David Belasco is to the stage. ANSWERS TO INQUIRIES W. G. W. Summit, N. J. You can see me at the Broadway Theatre any day between 5 and 7 P. M. by appointment. F. E. R. Newark, Ohio. Received your letter very late and have passed your check to the proper party. The articles will appear as before. It is some time since I have seen the pictures for which you send me plots, and I would not be able to criticise them, certain conditions making my time too valuable to refer to old notes. I was pleased to see that you had followed some of my previous suggestions and I hope you found it beneficial. MUSICAL PUBLICATIONS Isle D'Amour, by Leo Edwards. A Valse Lento that has a beautiful pathetic appeal and is especially adapted for pictures. You can never have too many numbers of this kind in your repertoire. Pub. by Leo Feist, Feist Bldg. W. 37th St., N. Y. City. Hungarian Rag. Pub. by /. H. Remick, 219 W. 46th St.. N. Y. City. This is some rag. None better. Exceptionally fine for orchestra. The Whip and Spirit of Independence, marches by Abe Holtzman. Two genuine Pathe Weekly marches. They are so popular that in playing them for a parade in the Weekly many times you will be playing the same number being played by the band on the screen. Excellently arranged for orchestra and will make a small orchestra show up like twenty. Pub> by /. H. Remick, 319 W. 46th St., N. Y. City. Anacortes, Wash. — The Dream Theatre, under the management of the Dream Amusement Company, will be re-opened in a few days. Houston, Tex. — J. W. Pinkertcm, owner of the Happy Hour theatre, moved his show to his Airdome near the printing office, and he will remodel the building. Albany, N. Y. — Contracts were let to Jno. McChesney for the erection of a $25,000 theatre building at corner First and I^roadalbin streets. Wilmington, Del. — As a preliminary to the construction of the new theatre to be known as The Playhouse by the Du Pont interests. The Playhouse Co., of Wilmington was incorporated with capital stock of $120,000. Baden & Co. secured the contract for new theatre building. P. S. Du Pont., of Wilmington. Jno. J. Raskob of Clayniont, Inc.