Documentary News Letter (1947-1949)

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HOC l Ml VI WRY HIM \ I \\ s 47 A Musician's Approach to the Documentary Film {Continued from page 44) sloughed and the musician now finds it possible to compose as for the concert hall with the knowledge that what he writes will be reproduced with mechanical fidelity. The danger is that, through this very perfection of music recording, the composer may be led into a state of self-sufficiency, and music tor film thought of as a thing-in-itself. divorced from the unified sound track. (I don't -,i\ this is true. I am merely pointing to a danger signal.) Again it becomes imperative that the composer for the documentary film should not lose sight of the limitations of his medium — and there are still limitations, not the least of which is the important problem of 16 mm reproduction. If a documentary is made for non-theatrical release (and 16 mm reproduction), then it is no use shutting our eyes to the fact that certain types of music do not reproduce well on substandard film and, therefore, 16 mm imposes special limitations on the composer. What these limitations are, each composer must assess for himself. My own feelings are that sub-standard reproduction demands emphasis on melodic line (as opposed to 'colour' and 'effect' music), clarity and simplicity of treatment, and that this clarity is best achieved by a strict limitation of the size, and a nicer choice of the components of the orchestra. A few instruments will reproduce better than a large body — though, of course, the type and scope of the film itself poses its own problem. (The strict artistic functions of the use of music in Sixpence on the Rates ? ( ( 'ontinued from page 41) education and social life of the borough. This Council, being a representative body working in conjunction with the Libraries Committee, was able to carry out activities for which the Borough Council then had no powers. 4. Films are used in the various series of talks which have been held: at exhibitions, etc, and screen trailers for advertising purposes. What St Pancras intends to do in the future. 1. The Borough Council have accepted the powers under the LCC General Powers Act and are considering the question of themselves providing 'concerts and entertainments' as defined under the Act. 2. The Arts and Civic Council will act in an advisory capacity, but will extend its activ itics in spheres which require closer contact with organizations in the borough. These include Community Clubs, a Music Group, Repertory Film Club, and the like. What are general reactions and feeling towards Act? A great step forward and one which was envisaged by the Borough Council when sponsoring the Arts and Civic Council The Council can now perform those duties which, previously, it had no power to do. any particular film demand primary consideration.) If the film requires bigness o( treatment then by all means use a larger orchestra, but the scoring should be broad and clear— in line rather than in colour. With the 16 mm film we are still in the ex[vi [mental Stage and personally I am all foi ex periment! The art of film music is a young art and still cries out for the spirit of adventure; 'Music, heavenly maid' is Mill a teen-ager. To sum up, let us avoid becoming stereotyped in our approach to film music: let us not forget that music is only a part of the sound track vv hich ideally should be a fusion of the spoken or sung word, natural sound and sound effects a vitally important part, but still a part; and let us realize, not only the limitations imposed by the film on music, but its still infinite and unexplored possibilities. Postscript: I cannot leave this question of the unification of the sound track without making these points. 1 Music should not be left to the last possible moment and added as an after-thought. 2. The pursuit of the ideal sound track calls for much closer co-operation between the composer and the sound effects department. 3. Little can be achieved without careful planning. (A complex score such as that composed for Carol Reed's Odd Man Out was made possible because it was considered and discussed before the film went into produc tion. The same equally applies to such films as Rotha's World of Plenty or The World is Rich (music by Clifton Parker), I he sound track for these films was the result of careful and patient planning in which all concerned, not least the composer, worked as a team from the earliest stages of scripting to the final st.iges of the dubbing session.) CORRESPONDENCE From Australia: sir: In your 'Notes of the Month', January, 1948, you say: 'Let's have your views and criticisms. . . .' I would very much like to see PEN printed in large type. The articles, news, film reviews, etc., are all most interesting, but to those of us in the Roaring 'Forties two or three pages is about all that can be managed at a sitting. Larger type, of course, means less printed matier; but it also means less eye-strain. We have all seen the film Your Children's Eyes; but what about some consideration for 'Your Readers' Eyes'. Now that that growl is off my chest, here are some items which may be of interest: The Film Society movement is fairly strong in NSW. There are about eight city groups and (Continued on next page) INTERNATIONAL REALIST NEARING COMPLETION GUN DOGS COMMENTARY BY BERNARD MILES BASIL WRIGHT IOHN l ^ I OR I P MMN N \