We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
What Makes Them Cry
55
S
comes a pit ter, pat
You wouldn't ever guess it but Bill Hart can cry all over the place when someone starts playing "Sweet Bunch or Daisies.
with the two guns is also very susceptible to "Till the Clouds Roll By."
The gentleman
two photoplays under the personal direction of C. B. deMille. The first was "A Romance of the Redwoods" and for the emotional scenes in this, Violinist Max Fisher, the chief tear coaxer at the Lasky studio, played the "Elegie" more than anything else. In "The Little American" which followed the violinist used an improvisation based on "The Star Spangled Banner" and for some of the love scenes, played "Ben Bolt." Massanet was also more or less prominent in the pathetic scenes of "Rebecca of Sunnybrook Farm."
Music was first introduced on the sets at Lasky's when Geraldine Farrar made her camera debut there nearly three years ago. In the filming of "Carmen" all of the music of Bizet's opera was played during the making of the production. The following year when the opera star came west to do "Joan the Woman," the "Marseillaise" formed the theme for the filming music as it did later for the incidental music which accompanied the screening of the photoplay. For a love theme the violinist used Charles Gardner's "The Lilac," which was played during the scenes between Miss Farrar and Wallace Reid. In Miss Farrar's last film play made on the coast, "The Devil Stone," Fisher composed an original theme which was played throughout the making of the play.
George Beban, the well known portrayer of character roles, usually Italians of low degree, is a player who just has to have music to feel the" characterization. He is said to have first brought music into the Ince studio at Ince
ville in the pre-Triangle days. It was when he was filming his first screen play "The Alien," an adaptation of his famous vaudeville playlet "The Sign of the Rose." Nearly everyone remembers the Italian laborer and little Rosa and the rose. They were filming the wonderfully pathetic scene, where the Italian comes to his tenement home and finds his child has been run over and killed by an auto. For some reason or other, Beban says, he "couldn't get into it" — couldn't feel the part and a part like that has to be felt in order to get it over. He told Ince about it and Ince asked him what was wrong, suggesting that he had played it often enough on the stage to do it before the camera. Then it came to Beban that on the stage he always had music, and a 'cellist was sent for. He was placed behind a screen and when the camera started again, it was accompanied by the sobbing strains of Tosti's "Good Bye." Another of Beban's favorite's is a little Italian serenade called "Mandolinata."
Another Laskyite who likes music is Louise Huff. Her favorites are "Annie Laurie" and "Somewhere a Voice Is Calling."
Even Bill Hart likes to have a violin about when he is doing some of his emotional stuff. Perhaps it's some memory of his youth that makes him particularly susceptible to "Sweet Bunch of Daisies" and he can squeeze out a tear any old time the violinist starts that almost new song hit of "Oh Boy," entitled "Till the Clouds Roll By."
Perhaps no musician has made a more thorough study