Motion Picture News (Sept-Oct 1918)

September 28 , 1918 OFza/fo and OPitroIi are used and then " Perfect Melody,'' without the introduction. This is repeated at the end of the picture and so might be called its melody. Following this is " Three English Dances," then " Furlana," " Dance of the Cammorist," a galop, " Mock Morris," " Molly on the Shore " and " The Meadow." Twelve different selections are used and then the organ takes up the music until the fifth reel and thence through the music is fitted to the action of the picture. We have never seen a feature picture, with the exception of one of a patriotic character, get such generous and such frequent outbursts of applause as this one is causing at the Rivoli. It is applauded with almost the enthusiasm that marked its reception by the gallery gods when it was first given on the speaking stage. And certainly the way that this picture is set into the program has been perfectly done, for in spite of the tenseness of the action everything works around so delightfully and so thrillingly to the wishes of the audience that there is joy in every heart when the entire bill comes to an end. Combination of a tribute to Yom Kippur and a very gloomy feature, based on a murder for robbery', gives a rather dismal air to the bill at the Rialto this week. " The Bells " is certainly one of the greatest pictures of the speaking stage, and Frank Keenan does wonderful acting in the screen version, yet we would have much rather had something happier. The second and final movements from Dvorak's " From the New World " compose the overture, which is really based on plantation melodies. Then come some Kalem pictures of the Holy Land, " From Jerusalem to the Red Sea." These are not new pictures, and they are used with the purpose of getting the Yom Kippur effect. "Baccanale" is used with introduction and obos solo and then the music follows through into " Les Pheniciennes " and then " Meditation." Now just at the end of the scenic the curtains part revealing in the side panels the sacred laws of the Jews on the tablets, with the effect of windows of the synagogue, and then Joseph Mann, from the side of the stage and unseen, sings " Kol Nidre " with a 'cello obligate It is an effective way to mark the day. " Jack Tar March " is the music for the opening number of Rialto Animated, which shows South American officials guests of the Pelham Bay Naval Station and a review of the rookies. This comes from Gaumont. as do the War Service Day at Harvard stadium pictures. The sailors in the stands forming the word " Navy " brings a torrent of applause. Then come Screen Telegram reproductions of the honor paid by New York on Lafayette Day, and " Hail to the Spirit of Liberty " is the most appropriate music. Hearst-Pathe supplies pictures of American airmen and target practice, and linked up with this is a Screen Telegram view of a war machine wrecked in a 2,000-foot dive, and during both of these a dramatic allegro is used. " Scenes Humoresque " are used 2011 Do&z I cattle ;| NOT AllOUD. * > 1 .'>: 1 Lobby display of Midway theatre, with Gaumont pictures of the National Egg Day at Petaluma, Cal. Screen Telegram pictures of looting the sea to enrich the crops with fish fertilizer call for a polka, and then with the Gaumont appeal to save the peach pits and the raising of a million and a half pennies at Los Angeles for the war babies " We'll Wallop the Kaiser " is employed. Now practically everything up to this time has a bearing on the war, and we begin to get the punch the harder with Gaumont pictures of " Our Boys in France." Here the use of smoke flares and road camouflage are two of the things shown, and we also get a glimpse of the sole survivor of a raid that the Huns attempted on the Americans. " Hands Across the Sea " is the music. Screen Telegram pictures show Elsie Janis singing for the soldiers at the front, and here the music turns to " Lady of the Slipper." Hearst-Pathe gives us an up-to-date touch with an illustration of " 18 to 45 " marching together to register, and here we have the chorus of " Battle Hymn of the Republic " used. After this " Over There " follows through as we get the title saying that on the same day that the registration was conducted here the Americans started their drive in France. This draws an immense amount of enthusiasm, and then we have another title, " They Never Turned Back and They Never Will," and the audience grows in its enthusiasm until the theatre can scarcely hold it, especially when the music again turns to " Battle Hymn " and there is a flash of General Pershing thrown on the screen. It gets the crowds, but it could have been a little more genuine if Hearst-Pathe had used a picture of the American commander really taken " over there " instead of one snapped on the Mexican border while he was still a brigadier general, and which the single star he wears on collar in the picture shows. Of course, mighty few people get this, but still it is one of the " little things." Miss Leeta Corder, singing the " Shadow Montreal, on "Triple Trouble" Song" from " Dinorah," affords an excellent prelude for the feature which follows, Frank Keenan in " The Bells." " March Jewess " is used as the opening selection, and then we have the sound of sleigh bells and the noise of wind from the organ. As you know, the story is built around the slayer of the Jew constantly hearing the accusing bells, and these are used often during the presentation of the picture. " Navaraise " is the theme for the feature. As might be inferred from the character of the picture, the music is not light, about the only selection with a lilt to it being " There Was a Little Maiden." We are given a chance to get back at the sunny side of life again when the orchestra plays selections from " Mile. Modiste," and the audience is almost stirred to singing " I Want What I Want When I Want It," and after that we have the comedy, " Fatty " Arbuckle in " The Cook," a picture which has some reminders of " The Waiters' Ball." The music is all of the liveliest character through this comedy, starting with " Polo Rag " and then including " Wyoming Days," " Good Scout," " Pepper Pot," " Oh, Lady, Lady," " By the Beautiful Sea " and " Step LivelyV used in the order named. Now just a moment again on the psychology of pictures. We saw both presentations the same day. We had seen both plays acted on the speaking stage, though we must admit that our recollections of them were not quite clear. " Sporting Life " is a much longer picture than " The Bells," and it is just as tense in its interest throughout. But there was not that relief at the ending of "The Bells" that made us feel that all was just right in the world. So in that case Rothapfel had to resort to the lighter music and the slapstick comedy to restore the poise of the audiences. It's psychology in picture handling and nothing else explains it. It is simply figuring on the human mind and the human heart.