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The famous McCargar Quartet—E. E. McCargar, 'cello ; Cecil Crandall and Raymond Martinez, violins; A. L. Randall, bass viol
A Tune for a Tear
Part III : What trie musicians think of the business of acting to music
By DORIS DENBO
THE slap-stick comedian on the Mack Sennett lot doesn't need the inspiration of sweet music in order to throw his custard pies and hurl his pots and pans very deftly and accurately, and to the entire satisfaction of his audience.
When Tom Mix mounts his horse and rides away, flourishing his gun, he doesn't stop to listen whether or not there is any soul-stirring music in the offing.
With Tony, the famous Mix horse, however, it is different. Tony is a temperamental aristocrat of the equine world, and Tony refuses to dance or do any of his tricks without at least a victrola. He prefers a three-piece orchestra, but in an emergency he will perform to the right sort of record. Without music he sometimes grows stubborn and stands as dumbly as any old Dobbin harnessed to a truck. Most of the artists of the
Meet Bill Bailey (at the organ) and his trio of musicians on location at Big Bear. Conway Tearle is standing in the background
silverscreen agree with Tony in' the matter of music. When put before the camera and told to run the entire gamut of emotions, from smiles to tears and stormy passion, and back to smiles again in swift succession, they find that the right sort of music does much to throw them into the required mood.
"Yes we want music with our acting," cry stars and director in chorus. But where to find the musicians who can give them the kind they want, is more easily said than
done. For a man may play with the soul of a Paderewski or Fritz Kreisler, or do jazz like a second Paul Whiteman, and still not be able to inspire in the actors the mood which they must bring into the picture.
Playing to make the screen stars "emote" is a definite trade in the music game and requires a definite technique. To do it successfully, the musician must be able to slide from jazz to the Moonlight Sonata and Handel's F uneral March, thence back to jazz again, with all the agility with which Babe Ruth slides around the 61 PAG
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