Hollywood Spectator (Apr-May 1939)

Jilin IJfuJ/c ant! tflakete HE title They Shall Have Music is a decidedly appropriate one for the latest Goldwyn picture, in which Jascha Heifetz “plays himself” and his Stradivarious on a large scale. Not intending any innuendo, I feel that the title of this film is as significant as the qualities of the picture. Goldwyn may not have purposed to make a picture propagandizing the right of every child to an early opportunity in musical training, nevertheless he has done so. And he has done it splendidly. If I say that the story, the filmization or the playing of Jascha Heifetz never caused me one beat of piercing heartache, not one moment of throat stricture, not a drop of eye moisture, then the reader should take this as a purely personal reaction. No one should miss They Shall Have Music, although it does not possess that inner urgency and genuine emotional excitement and elation which distinguished the musical and histrionic-dramatic elements in One Hundred Men and a Girl. But the race is a close one. Splendid Achievement Cf This Goldwyn picture is a splendid musical achievement in itself, apart from its general human or social implications. To have induced Jascha Heifetz to come out of his music-aristocratic shell of necessary isolation and play before a photographic sound camera, that alone entitles Samuel Goldwyn to world-wide thanks. It is useless to lament the absence of a sound-film record recording Beethoven playing, Wagner conducting. and so on. Moonlight Sonata with Paderewski had decided shortcomings, yet I will be one of the first to see and hear it again, although I found it impossible to sit through the last recital given here by the illustrious Pole. Or I shall go to see the film, because of the tragedy of his last concert. Heifetz plays the violin in The y Shall Have Music with that miraculous poise and perfection which have made so many of his personal appearances such strangely hypnotic experiences. The screen provides more than a master lesson for all violinists, for there is hardly an angle or a close-up which does not concentrate on the super-virtuoso’s fingers travelling with well nigh magic sureness up and down the finger board. His right hand and bow is seen traversing the strings, coaxing and ordering them into lovely and impelling eloquence. The camera lense studies his face, searching it for those inner springs of feeling, fantasy and fertility of expressional strength which have made Heifetz the idolized violinist he is. It is intriguing to try and read this face which bespeaks artistic integrity and human intensity. It also is a face that can be easily misread. Ultimately, this is a music film and a music film while made for the eye, comes up for final verdict before the ear. Page Mr, Newman q That every care has been taken to insure an excellent recording may be taken for granted. The Goldwyn staff, and Alfred Newman, musical director in charge of the score and musical renditions, who is seen in one scene giving Heifetz a fine orchestra accompaniment in the Saint-Saens Rondo Capriccioso, have gone to full efforts. Paul Neal, in charge of recording, who did such beautiful work when recording the score for Stagecoach and Wuthering Heights, again controlled the microphones. Some of his best tone quality was hardened and thus spoiled during the preview, because sound volume was too big. How long will it take before those in charge of previews will learn that loud, explosive sound is anything but beautiful or convincing, that it is the very opposite from being expressive? Heifetz is heard in the Saint-Saens opus already mentioned: the Hora Staccato, by Dinico: Estrellita, his own arrangement: and the finale from the Mendelssohn violin concerto. The program lists also the Tschaikowsky Melody, but I must confess to not recalling this piece, which lapse I can explain only by saying that in trying to gain a most complete impression, some things are apt to slip through the meshes of memory. Children's Orchestra q This is not the first time that I hesitate praising Heifetz, not because I think praise should be withheld, but for reasons of his established superlativeness. As Deems Taylor remarks in the preview program, one may not always be wholly at one with Heifetz the artist, yet he ranks beyond disagreement. Great praise is due to Peter Meremblum and his Southern California Junior Symphony. They are heard in highly musical readings of the accompaniment to Heifetz’s performance of Mendelssohn and the Barber of Seville overture by Rossini, slightly rescored I think. They also accompany Verdi’s Caro Nome and Bellini’s Casta Diva arias, sung by a truly remarkable child soprano, Jacqueline Nash, and in parts from Mendelssohn's Italian Symphony and Mozart's Kleine Nacht Musik. To laud the children is to laud their conductor-mentor, Peter Meremblum. By having these youngsters appear in sight and sound , Goldwyn has dorte something wonderful indeed which should inspire countless thousands of children and parents. It was wise not BY BRUNO DAVID USSHER to “doctor” the sound of this juvenile orchestra or to let the little prima donna appear the kind of vocal wonder child which in reality cannot exist because nature accomplishes only the near-impossible. Consistent Values q J'hese children play and sing so spontaneously and expressively that minor blemishes make their good points rate all the higher. Little Miss Nash — whom I heard in person during a recording — is marvelously gifted in every regard. The charmingly serious and amusing piano soli of tiny Mary Ruth in Chopin’s Minute Waltz was treated in the same way. I am sorry that Walter Brennan, as head of the school, conducts with obvious lack of rhythm. The picture is a real inside story of the “ups and downs” of an eastside music school, run by an idealistic musician for the sake of the children rather than for the sake of shekels. The story permits the use of such incidental music as one hears at a busy establishment of that kind, a fact enhancing the musical value of the picture and giving it musical consistency. Known while in the making as Music School, this Heifetz-starred production is now titled They Shall Have Music. And a good title it is, and a great message it conveys. REVIEWS (Continued from page 10) in an effort to alibi her husband's absence, elaborates on his qualifications and magnify the superiority of the products he has manufactured from his formulas, sells herself into the job as manager. Fine Direction and Acting q Direction by Gus Meins from the well written screen play by Jack Townley and Taylor Caven is excellent throughout. Photography, editing and art direction satisfactory. The cast, without an exception, is perfect for this production. Those well-known portrayers of many characters, Henry Kolker, who seems never to age, and Berton Churchill, ably assisted by Arthur Hoyt, are splendid. Marie Wilson, as Myrtle, Russel Gleason’s wife, is impressive. And, of course, the Gleason family is, as always, par-excellent. Suitable for any theatre showing clean, high class and wholesome entertainment. Take the entire family, including grandpa, grandma and Aunt Tilley, and give them a treat. Dad will love this one. ★ Motion picture appreciation ultimately will be a part of every high school curriculum. JULY 22, 1939 PAGE ELEVEN