Motion Picture News (Jan-Feb 1922)

552 Motion Picture News Music and the Picture Why Do We Need Music with Pictures? Dr. Hugo Riesenfeld Comments on William D. Taylor’s kk Too Much Music ” Article EXPRESSION of disapproval of the overwhelming quantity of music and of the atmospheric prologue on the programs of better class theatres by the Motion Picture Directors’ Association recently made public through a trade paper article by William D. Taylor has led Motion Picture News to seek the opinion of an authority on the presentation of the photoplay— Dr. Hugo Riesenfeld, director of the Rivoli, Rialto and Criterion theatres, New York. Mr. Riesenfeld has been the leading figure in pictures-and-music for the past six years. He has seen motion picture presentation develop and knows its possibilities and its pitfalls from experience. And in pointing out where the exhibitor faces dangers in the elaboration of the music side of the program, he is giving support to Mr. Taylor’s protest. “ The whole purpose of music with pictures was originally to satisfy the ear so that the eye could give its attention to the screen,” explained Mr. Riesenfeld. “ It was a sort of opiate, nothing more. That was the fundamental theory upon which music was originally introduced in motion picture presentation and if the exhibitor will hold to that central idea he cannot go far astray. If he is led to believe that because his patrons like good music he must give them more and still more music, he is doomed to disappointment, because primarily his patrons want pictures. “Why do we need music with pictures? Because the ear demands it. Every action in life has sound connected with it. And on the stage there is the human voice and color as well as action. When the patron turned to the motion picture for entertainment, it was natural that the human voice should be sought as well as the figures in dramatic action. Without a sound except the whirring of the projection machine or the whispering of the audience, there would be an unnaturalness about the silent drama which would be disconcerting. The players would be seen to speak — their words might even be read upon the screen — but there was no sound. Naturally, it was found necessary to appease the demands of the ear, and music was introduced. “ In time this musical side of the entertainment was given great study and an effort was made to bring together the emotional force of the music with the appropriate action on the screen. And there was, at the same time, a development in the orchestral side, until the piano and primitive organ disappeared and fine symphony orchestras were used. When a special composition was needed for a special film scene and it could not be found among the great music writings, an original piece was written. And so it went on, progress in music setting and in the orchestras. “Then there was the problem of the entire program. A motion picture entertainment takes about two hours yet it is almost physically impossible to watch pictures for that length of time. That is why pictures were made to alternate with stage numbers, a bit of dance, an orchestral selection or a vocal solo. It was to Dr. Hugo Riesenfeld give the eye a rest that these stage and music numbers were introduced. And, of course, the best possible numbers were presented. more important than the proper playing of an overture. For the conductor it means that he must unlearn much, must disregard dynamics and metric effects which a composer conceived, and actually improvise a setting fitting the dynamics of the photoplay. The orchestras, too, must understand how to ‘play to a picture.’ Even the best players from the symphony orchestras need to learn this branch of musicianship. These three — the score, the conductor and the orchestra — when expressing the emotions in music harmoniously with the emotions on the screen, result in a brilliant ensemble. If any of these three are lacking — if the score is not prepared wtih appreciation for the dramatic import of the film, if the conductor cannot direct the score ‘ to the picture ’ or the orchestra does not respond perfectly— the results, from a film drama point of view, will be disastrous. “ The great problem is to know where to stop. Music has progressed wonderfully in the past six years and there is the desire to go still further. Instead of making it a purpose to give always better music there is the desire to give merely more. The well balanced program has been found long ago and the pioneer will find that his work lies in perfecting the details of that program, not in throwing it out of balance again.” “ This wonderful development of motion picture presentation continued with remarkable strides — and hidden in that fact lies the danger. The public liked fine music settings with its pictures, it appreciated the symphony orchestras, the vocal selections, the dance numbers, and immediately it was presumed that more and more of that side of the entertainment was desired. The original purpose was being forgotten and music and stage numbers was made a fetich. The servant was placed in the master’s chair and obeisance was paid to a usurper. “ After all is said and done, the picture is the thing. We know that the public likes music with its pictures. A good orchestra, a properly prepared score and well selected soloists will give the theatre a steady clientele, provided, of course, that the average of pictures is good. Music will increase the attendance when the photoplays are good, but will not draw patrons if the pictures are uniformly bad. “ Six years of study and work have brought us these salient facts : “ The music in the score to a motion picture must be chosen with just as great care as is the music in an opera — it must be in harmony with the dramatic action. Both are intended to carry the same story, to create atmosphere for a story or stir the emotions in a specific way. If I were inclined to be over-critical, I should be tempted to say that the music for the motion picture has to be more intelligible than that in grand opera. “ The conductor must ‘ play to the picture.’ This is, to my mind, the most important function of conductor and orchestra. It is infinitely Avedano Appears at Shea’s Hippodrome, Buffalo One of the most artistic musical numbers ever presented at Shea’s Hippodrome, Buffalo, was rendered last week when Mile. Avedano, costumed for the role, sang “Romanzo” from “Aida” before an atmospheric stage setting, entitled “On the Nile.” The canvas showed the Nile river flowing by the pyramids. A camel caravan was seen crossing the desert in the distance. Lights were thrown on the water against which an electric fan was also turned, the breeze thus produced giving a realistic moving water effect. The Verdi number was given with excellent effect, the big symphony orchestra accompanying the soloist. Dolman, Former Detroit Organist, Goes to Winnipeg Walter Dolman, formerly of Detroit, Mich., has been appointed organist of the new College Theatre, Winnipeg, Manitoba, where a fine new concert organ was recently completed. Dolman was brought to Winnipeg to be the organist of the Province Theatre, where he remained for two years. He went to the National Theatre, Winnipeg, but has now received the important appointment at the College. Mr. Dolman is credited with having one of the largest music libraries in Canada.