Close Up (Jul-Dec 1929)

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CLOSE UP of effect — one of permanent yawning. The programme told us, for instance, that every character had a distinctive motif, was also given a musical rendering by means of appropriate instrumentation. (This blah rang no new bell. Shige Sudzuki had once told us much more clarid ideas concerning character instrumentation on a small railway platform near the German Staaken studios). Example of appropriate instrumentation : man talking angrily (boombedeboom) — woman speaking anxiously (peckpeckpeck). Wurlitzers had done it for Felix. " The music for each scene composed to convey its atmosphere ; each picture on the screen has sound in rhythm — expressing the ' soul ' of every situation." The soul of every Edgar Wallace situation ! It was not as bad as that. We should remember how Mara comes into a room and sits down to read a letter, all to the tune of a highly rhythmetised tango. That w^as worth a lot when you consider ]\Iara — which Meis.el helps you to do — in this light. He Meisels her into your subconscious. Nothing else could. Remember too the typewriter's cute tappetvtap, and specially a harpsichordish con brio tinkling round the somberer noises of a business interview. Why do we put a man like Meisel on to a man like (with respects due) Edgar Wallace? Left to ourselves we would certainly accompany Potemkin with Moonbeams in a Chinese Temple Garden. Still, there it is. Tremolo luv motif and all. With fugitive, sly moments of the Meisel we know and care about. 341