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Page Twenty-four
April 16, 1938
her new picture, That Certain Age, is occupying some of the very best efforts out there. Producer Pasternak and his musical collaborator, Previn, set a high mark with Mad About Music, the last Durbin film, coin¬ ing a fortune for the studio. Durbin, if I under¬ stand correctly, is devoting herself now only to the making of her new picture. That means also greater concentration of personality value. There will be at least four songs, by McHugh and Adamson, the same team which succeeded so admirably in Mad About Music. Universal has also an option of Sto¬ kowski’s services for a second production, so Mr. Previn reveals. Stokowski’s 100 Men and a Girl made money, more money than is generally assumed. Universal evidently is banking heavily on vocal as¬ sets. Hope Hampton will be featured in a picture, Road to Reno, containing operatic excerpts. There will be a Danielle Durrieux film with important music. "There is no need to defend good music any more than to defend films with a serious aspect. All that is necessary is to present music well. It must be used naturally and be technically flawless.”
Columbia Turns to Chopin . . .
OLUMBIA STUDIOS led the parade with opera pictures, starting with Grace Moore’s One Night of Love. Whether there will be another Moore songpicture is a matter of opinion, also a matter of the right story. This artist has made several productions of this type. Mr. Cohn is a man of courage and of judgment, and has understood how to pick people who can take up an idea and also can drop it. I would think that operatic films are being rather rele¬ gated at Columbia. They are proud of their musical achievement in Lost Horizon, for which Tiomkin wrote a score occuping nearly an hour of music in the course of a two-hour film. Some people thought that this score, and Max Steiner’s score for Zola would run a close competition for the Academy Award. There will be a super score soon, bearing the Columbia trade mark, which has become a hall mark for musical standards. That film will be based on the life of Chopin. He led a most romantic exist¬ ence. His was a most romantic age. Director Capra and Music Director Morris Stoloff are planning a production which will be viewed and heard ten and twenty years as a human musical record.
Education and Edification . . .
OLUMBIA’s Chopin film will be a most thought¬ fully prepared production. Morris Stoloff tells me. The story draft by Sydney Buchmann is now in the hands of Director Capra who employed music so sensitively in Lost Horizon. "We shall engage one of the very greatest Chooin players of the day. so as to afford millions of film patrons the pleasure of hearing a musically supreme portrayal of the com¬ poser. Both Josef Hofmann and Moritz Rosenthal are under consideration. As always in the case of such peerless artists, the question of availability and concert tours has to be considered. This Chopin pic¬ ture will probably run an hour and three-quarters. It will not merely deal with a few sentimental anec