Motion Picture News (Nov-Dec 1917)

4064 ACCESSORY NEWS SECTION Vol. 16. No. 23 Martial Music A VAUDEVILLE comedian who had been pestered nearly to death by song writers and pluggers was unbrotherly enough recently to say that if General Sherman had taken into consideration some of the war songs that are foisted on the public, he surely would have applied a stronger word to convey his conception of war. Undeniably, some song writers do perpetrate rhymed and unrhymed atrocities on the charitable public, but then, some one has to build the war songs, for built they are, piece by piece, occasionally requiring as many as ten'able-bodied men to put one together. All agree that we must have war and slogan songs to cheer the boys on their way to the front, to lighten their cares while there, and to comfort those who are left behind — the soldiers of the soil, soup and soapsuds. Lively tunes, created, borrowed or transplanted, have a wonderful way of helping one to forget impending dangers, of making the timid brave, and the brave, braver. It must be a deep streak of yellow that won't turn red from the fire and dash of a good march melody, hence the reason for the existence of song writers, good, bad and terrible. Sometimes the terrible turn out the good songs and the good turn out the terrible stuff. And snappy music, unlike Green River and other brands favored by many, puts a razor edge on a man's courage without dulling his senses. In former years, before song writers demanded and received large royalties, songs were inspired and bubbled from the hearts of true poets, who scorned limousines and were satisfied to die in garrets for art's sake. Today, however, songs are put together like a submarine with the " punch " line in the chorus as a torpedo aimed to blow up human emotions. Records tell us that our ancestors composed some fine songs — " Yankee Doodle " for the Revolution, " On the Rio Grande " for the Mexican scrap, " The Battle Hymn of the Republic," " Dixie " and " Marching Through Georgia," for the argument of 1861, and " A Hot Time in the Old Town " and " Strike up the Band " for the fight that followed the blowing up of the Maine. A peculiar feature about the war songs of the Spanish-American War was that they were never intended for war purposes. Those who know the history of them say that " A Hot Time " was the gang song in the White Light district in St. Louis long before the war broke out. " Strike up the Band " is a product of the old Bowery, the former stamping ground of sailors out for a good time. Years ago most of the Bowery concert halls made a special play for the sailors' patronage, and kept barkers on the outside to chant about the wonderful show that could be seen inside gratis. When a barker spotted a sailor he would stick his head into the concert hall and shout : " Strike up the band, here comes a sailor," and the noise would begin immediately. A painted slip of a girl would leap to the piano and begin to sing the latest popular ditty. To the boss a sailor was an unknown quantity. He might be carrying a year's wages and a long thirst, or a thin dime and a hard luck story, but he must be accorded a welcome. Hearing a barker deliver his stock phrase one night gave Andrew B. Sterling and the late Chas. B. Ward, the original Bowery Boy, the idea for the song. Since this country has entered the present war thousands of war songs have been ground out, and if the Germans had to listen to all of them they would not feel much like fighting. Of the many that have been published those that are winning popularity now are : " Over There," " The Mason-Dixon Line," " Set Aside Your Tears," " It's a Long. Way to Berlin," " I Wonder How the Old Folks Are Tonight," " The Girl with the Cross Upon Her Sleeve," "I Don't Want to Get Well," "When the Yanks Come Marching Home," " Hail ! Hail ! the Gang's All Here," " Long Boy," " A-m-e-r-i-c-a," " We're After You," " Homeward Bound," and " It's a Long Way to the U. S. A." New numbers that look like hits are : " I Wish You All the Luck in the World," " We'll Knock the Heligo Out of Heligo Into Heligoland," and a couple of others. Now is the time to use these numbers, when your audience will enjoy and appreciate them, and not after the war is over. E. M. Wickes. "THE MANXMAN" (Distributed by Goldwyn) Reviewed on page 2515. Vol. 15. (Note: " T " indicates " title," " D " indicates "description of scene.") § 1— En Mere. 2 — T: The Manxmen are very democratic. Three Irish Picture 1. | 3 — T: But a short distance from where. Three Irish Picture No. f 2. Make repeat (rather heavy). 4 — T: You best be having a word with my. Heart Wounds | (mutes). , 1 5 — D : When little boy takes fishemet and kisses dead mother. | Three Irish Picture No. 2. Once through slowly. | 6 — T: Black Tom had one resort. 12 Irish songs — 1 and 2 No. | Intro — make D. S. in second song. | y—T: The passage of nearly 20 years.. Three English dances No. | 1 — make repeat as marked. I 8 — D: When father of girl refuses consent. Pastoral dance (Ger | man). Cut out first two bars — make repeat as marked. 9 — T: What about Kate while I'm away? Adoration — No intro. 10 — T: But a year's time was needed for Kate. An old love story. | 11 — After T don't lower yourself. Berg No. 38 — shape to action. | 12 — D: When girl bends over to Philip and kisses him. An Old = Love Song. When he receives letter, tremolo — then again as written | — An Old Love Song. 13 — T: At the same moment Philip's grandfather. The Last Spring = (Grief). I 14 — T : The time for the harvest melliah arrives. Woodland Pictures. Start at No. 6 make D. S. to No. 3 twice. When lovers alone play pop. 15 — T: The governor gives a reception. Polonaise. 16 — D: Philip reads letter from Pete. Adoration. 17 — T: And the way becomes clear to Philip Christian. Sigurd Jorsalfer No. 1. 18 — D: When Philip leaves girl's home. Under the Leaves (Thome). „ . 19 — T: Philip undergoes the strain of meeting Pete. Petite Suite Concert No. 1 (very heavy). . 20 — T: Kate determines to tell Pete the truth. Petite Suite Concert No. 2. 20 — A : Kate in wedding clothes just before storm. 21 — D: When clergyman is seen in door. Harmonium Solo. 22 — D: When they leave church. Henry VIII (Saint Saens) No. VI Guide Letter A. Play to action. , 23 — D : When garden is seen in spring. Romance (Nevin) play to action — Violin Solo and Harp. 24 — Ross Christian concludes. Imaginary Ballet. 25 — After fight — Ross has left. Romance (Nevin). 26 — T: For nearly a thousand years. Sigurd Jorselfer No. 3 (cut out first 5). 27 — T: The fisherman of the island. Berg 31. 28 D: At procession (when Pete gives sign to fisherman to leave). Berg 22. 29 — Philip rushes in. Agitato No.,1. 30 — Fisherman takes Philip on back. Huldigunp March. 31 — D: Kate makes the great sacrifice. Romance (Karganoff). 32 — D: When Philip reads letters. Stop playing. Adieu (Karganoff). 33 — T: It was not long before Kelly. Berceuse (Jarnefeldt) repeat. 34 T : The governor becomes weary of his. Pathetic Andante No. 1 (Langey) — first 16 bars only; play fast. 35 — Segue back to. Romance (Nevin) — Cello Solo once through, then entire orchestra. 36 — D: When Kate drops at foot of bed. La Blance (Hager). 37 — T: Philip finds that no man can battle. Pathetic Andante No. 1 (Langey). 38 D: When mother goes back to her home. Romance (Nevin). 39 — D: At court scene. Andante Berg No. 15 Dramatic. 40 — T: And then the Deemster's spirit. Visions (Tschaikowsky). 41 — T: The perjury of Pek Quillan. Elegie (Grieg). 42 — D: At court scene. Andante Dramatic Berg No. 15. 43 D ■ Till Pete brings child. Romance (Nevin) to finish. THE END. " FOR THE FREEDOM OF THE WORLD " (Distributed by the Goldwyn Pictures Corporation) ~ Theme: " Extase D'Amour" (3/4 Andante) by Roze 1 — "Triumphant America" (Characteristic National March), by Von Der Mchden until— T: "The Cradle of Freedom." 2 — "America" (My Country 'Tis, etc.) until — T: "The Kaisers treacherous violation, etc." 3_" Yankee Doodle" until— T: "The trumpets sounding, etc. | 4 — "Canzonetta" (Moderato) by Nicode until — 2: "Ted Ray, a I college classmate." „ , I 5 — Popular dance music on the style of Les Feist s song hit It s I a Long Way to Berlin," until — T: "Or listen to this." = Note: — Due to the rapid changes of the scenes, it is impossible to I foUotc the action with an Orchestra. Piano Solo-improvise to action. | 6 — "Elegie" (Pathetic Cello Solo) by Mattioli until — S: "Woman I struggling with soldier." | 7 — "Dramatic Agitato" by Hough until— T: "If that were your = wife's child." | 8 — Piano Solo improviso to action (same as Cue No. 5) until — I Interior of living room. . | 9 — •■ Songs of Uncle Sam " (Characteristic and Patriotic March) by I McKoy until — T: "Throughout all Canada." | io — " Y ester Love" (Intermezzo Andantino) by Borch until — T: i " The recruiting rally." I 11 — Repeat "Sons of Uncle Sam" (same as Cue No. 9) until T : I " Gordon's first glimpse, etc." I 12 — Galop to Action until — S: Garden scene. I 13 — Theme until — T: "Gordon's zeal and devotion, etc." I 14 — Continue to action until — T: "The Slacker sneers, etc." 1 15 — " Lakesonian March" by Lake until — S: "The fight." I 16 — Continue ff until — T: "Place him under arrest." | 17 — "Serenade" (Allegretto) by Kautzenbach until — T: "A call on = auntie." = 18 — Theme until — S: "Soldiers in training camp. | 19 — " Invercargill March" by Lithgow until — S: Interior of hv 5 ing room." _ , _ | 20— "Longing" (Cello Solo) by Tschaikowsky until — T: Betty § sees the beckoning spirit." I 21 — " Lamento " (Dramatic Melody) by Gabriel Marie until — S: = " Soldiers in training camp.'