Hollywood Spectator (1937-39)

Hollywood Spectator Page Fifteen disturbing factor, and thus make us conscious that we are merely watching a motion picture when we should be entirely oblivious of the medium which has transplanted us to the land of drama. Jarring noises destroy all attempts at realism since they call attention to themselves as annoyingly as if the person sitting next to you kept elbowing you on the ribs. And to believe that excruciating sounds are not injurious to the nervous system, is to overlook the fact that our army hospitals are still full with shell-shocked patients, the victims of brutal sounds beyond their endurance to withstand. Now, since our imagination can give reality to grey shadows, it can also attribute life-like qualities to noises which suggest the real ones. The stage has presented accordionists, guitarists, cornetists, etc., who, with surprising realism, have imitated life-like sounds more stimulating to the imagination than the real sounds. Thus, they have shown us the way to destill the nerve-jarring properties of physical noises and leave merely their essence ; in other words, physical sounds can be transformed into mental sounds, through the aid of music. I don’t mean by this that there should be a sustained musical score throughout the entire picture; some pictures, of course, may be enhanced by such a device, while others may suffer from it. Every picture is an entirely different identity, and each needs its own special treatment. However, every picture will be enhanced if its nerve-jarring noises are eliminated. LOUIS KING Directed “WILD MONEY” For Paramount Current Production . . . “BULLDOG DRUMMOND COMES BACK” MUSIC and LYRICS for "The Singing Marine" Harry WARREN and Al DUBIN Warner Bros. SLAVKO VORKAPICH Writing and Directing MONTAGE SEQUENCES Cor METRO-GOLD WYN-MAYER