Business screen magazine (1938)

T^ O FILMS TEACH \^ 0 M E N BEALTY ARTS AN INTERVIEW WITH W. B. NEUBURG, OF COTY, INC. Faced With two definite and difficult sales problems, Coty, Inc., turned to the sound-visual medium, which, in the estimation of W. B. Neuburg, was adapted to present and make real the intangible and subtle properties of perfume and of face-powder. The problems involved, first, the portrayal of the desirability of Coty perfumes; secondly, the oft'setting of illadvised projjaganda. This propaganda, directed against all manufacturers of cosmetics by the guinea-pig interests, had caused Miss Schoolgirl and Madam Housewife to believe that the cosmetics for \\hich they paid a dollar were worth in reality but a few cents. Not easy problems, these. Their successful handling, in the two Coty films Symphonies in Fragrance, and Air Spun, points to the versatility of the celluloid medium. Thousands of women and girls have witnessed the Coty presentations . . . the story of fragrances . . . the breath of rare flowers, the silky-softness of powder w'hirled into the air at t lie speed of l^OO miles an hour ... to provide luxurious beauty for the American woman. Allure, charm, grace, poise, seductiveness — these are portrayed in the Coty pictures. Charming model "types" personify the definite moods of certain perfumes. The subtle relationships between various t\-pes are brought out in a manner calculated to convince, and to sell. Symphonies in Fragrance evolves about musical patterns — keys, rhythms, melodic and harmonic patterns. The emotions are aroused, imaginations stimulated through picturing of appealing girl types, each of whom personifies a perfume "mood". Music is used to form an interesting theme and introduction. Musical patterns are likened to the skillful blend ing of rare essential oils, costly fragrances blended to produce the desired types. "Both music and perfumes produce moods — very subtle, but very real." This explanation was offered by Mr. Neuburg. "The composer blends his melodic, rhythmic, and harmonic patterns. Similarly, the skilled perfumer blends his harmonies in fragrance." To create interest and introduce a theme with possibilities of continued, sustained interest. Dr. Sigmund Spaeth introduces the underlying theme in Symphonies in Fragrance. He explains how a few basic musical notes may be combined in various patterns to produce whole compositions. He describes how various orchestral instruments, each with its own individual characteristic, or color, adds its contribution to the complete, well-blended symphonic composition. In a whirl of gay, kaleidoscopic patterns, the picture carries forward its theme. The camera takes us on a tour of many lands. We see attar of roses evolve from the rose plantations of France . . . voluptuous Spain with its own rare yields. Moods of laughter, languid peacefulness, seductiveness, spirited gayety . . . each is woven into the musical patterns of the film's sound track, with photogra])hic composition matching each mood. The commentary brings forth the idea that perfume has its moods, that good perfumes are imbued with blends of fragrance which give them definite, desirable characters. "Perfumes", states Mr. Neuburg, "are intangibles". We must deal with their results, rather than with their physical properties. It is their romantic and emotional appeals that we seek to emphasize in Symphonies In Fragrance. This is a film for direct selling. We want the women who see it to say to 10