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CLASSIC
Left: Ruth Dickey and her ten-piece orchestra were transported on sand sleds to the sandy desertlike location Cecil De Mille selected for some of the scenes of "The Ten Commandments." In the picture Charles de Roche and Leatrice Joy take a hand to "s p e 1 1" the musicians. Below is Eric von Stroheim and his regular orchestra on a peak of the P a n a m i n t mountains on the edge of "D e a t h Valley." Altho heat prostrations threatened, they played away for the successful climax of "Greed"
He often tells his cast: "Remember, cameras have no ears. Act your feelings. Dont be content to speak them. When the picture is shown on the screen, it must stand on the acting and nothing else."
In his new mammoth production, "The Ten Commandments." music has become one of the several fascinating elements in the upbuilding of the various periods in which Mr. De Mille seeks to interpret the Mosaic Law.
Fred Niblo always has music when directing his masterpieces. In studying the reactions of his actors to this influence he has made a significant discovery. Said he : "I find that women respond far more readily to melodies played in the lower register and men to those pitched in the treble. This is but the natural psychological attraction of masculine and feminine in tone."
With an eight-piece orchestra playing the dramatic arias from "Pagliacci," as inspiration for a series of tragic scenes being made by the strolling players in his new production, "Scaramouche," Rex Ingram stopped to remark that everyone responds to music to some degree.
"I know little of the technique of this art," said Mr. Ingram, "yet \ a Wagnerian opera stirs me tremendously. While I invariably use music in my scenes, delving into the preferences and prejudices of my players to find what moves them, I believe it must be used carefully, for it gives a false stimulus to the action. Sensitive natures depend upon the emotionalism of the music to carry their scene rather than their own acting. They are so swayed by the rhythm
that they think they are expressing it thru pantomime when in reality they are merely feeling and their body is placid."
The many-sided brilliance of Eric von Stroheim would naturally include a knowledge of music. He plays the violin like a professional and brings to it that vitality that characterizes his other achievements. Understanding music and human nature so perfectly, this genius arranges his music scores as he plans his continuity, practically making an opera of his pictures while filming them. (Continued on page 86)
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