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Photoplay Magazine
A lone harpist furnished nearly all the music for the emotional scenes in Theda Bara's "Cleopatra," The accompaniment was described
as "an old Egyptian tune"; but an astute investigator discovered that it was this — "La Cinquantaine " — The Golden Wedding. Imagine
Marc and Octavius being vamped to a golden wedding anniversary song.
nth does not hesitate to invoke the aid of Orpheus when any of his players is particularly responsive to music. He has found the mob especially responsive in big scenes and during the filming of "Intolerance" he had a big brass band on the lot for three days playing for the battle scenes. It will be news to many archaeologists that Cyrus was repulsed at the walls of Babylon to the stirring strains of the Marseillaise, Tipperary and The Star Spangled Banner. In the wonderful dancing scenes in Belshazzar's court the dancers got all their cues from the music of the band. In rehearsals Griffith has used a phonograph many times to get unity of action by music cues.
Perhaps no screen star responds so readily to music as Mary Pickford. It is only in her recent photoplays that she has done any great emotional work, and the writer has been privileged to witness several of the most notable scenes. In each instance of great emotional acting, music was the chief reliance of both the actress and her director.
If you saw her in "The Little Princess" you will recall the scene where she is told of her father's death in India. It was rehearsed several times without getting the desired effect. Then the director, Marshall Neilan, himself an accomplished musician — even if he does play only by ear, which is a secret — went to the piano. At Mary's entrance he played a little dance, a light tripping thing. Then Miss Minchin breaks the sad news — bang! goes a discordant crash, the first shock, and then the strains of "The Land of the Sky Blue Water," Cadman's Indian masterpiece, for the registering of sorrow. But Miss Pickford's favorite sob song is Massenet's "Elegie" though for a time she favored the popular ballad "For Me and My Gal." Her splendid emotional work in "Stella Maris" was done largely to the strains of the "Elegie" and "Gray Days," another of her favorites.
When Miss Pickford entered the Lasky studio after doing "Poor Little Rich Girl" in the East, she played in