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seldom a -mil demanding emotional ression i I wit is made without ap iate musical setting The great studios in I loll) wood ilarl) emplo) mans skilled mu ins, read\ \\ itli a large repei I in ordei to inert .ill dramatic exi
While 1 irge orchestras are Frequentl) neede<l for certain elaborate es, the usual combination con of a piano or movable organ, in and cello, which furnishes the accompaniment for tie tense moments that thrill thousands of film s thruout the world. Under tins influence the actor loves his self -consciousness and readily drops into a natural grace, as well as responding to the rhythm, emotionally.
It quickens the blood that warms the heart and tho the wise ones insist that its appeal is only to the emotions— never binding the intelligence, for it carries no definite ideas, it certainly creates eloquent hack
At the top of the page is Glenn Hunter making a scene from "West of the Water Tower." Note the three musicians doing their best to help Glenn toward the proper mood. Above is Jane Novak playing for Victor Schertzinger and her sister Eva on the studio organ. It doesn't seem to be going so well. Right: Music is a very pleasant accompaniment to kissing, we are sure Monte Blue thinks, and doubtless Irene Rich finds it pleasant too — the music, we mean
grounds upon which the sentiments and passions play.
Cecil De Mille keeps a violinist on his pay-roll the vcar around and uses this music for every scene. When the occasion demands it. he adds other instruments. This he does entirely for his players and he allows them to choose their favorite selections.
He believes, however, that music lessens the director's critical capacity, which should be ever active, and I have seen him many times sitting with his fingers in his as he watched a scene being filmed to the seductive music of a splendid orchestra. For this reason too. Mr. De Mille insists that his players keep their voices pitched very low — he does not want to be swayed by the quality of their tones, which form a subtle avenue for emotional expression — and one to which he is peculiarly susceptible.
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