Motion Picture News (Jan-Feb 1922)

606 Motion Picture News Murphy and Macgowan Making One Reel “Visual Symphonies” Expensive Prologue’ s Doom Seen in One Reel Novelty Offering THE first example of an interesting novelty in a new field of motion picture entertainment will shortly be released through a national distributing organization according to an announcement made this week by Mr. Dudley Murphy, president, and Mr. Claude Macgowan, general manager of Visual Symphony Productions, Inc. Mr. Murphy, whose work has already attracted attentiqn through its pictorial and artistic qualities is the originator of the idea. There are now in production the first three of a series of twelve one-reel subjects to be known as “Visual Symphonies ” which, as interpretations of celebrated musical compositions by famous people from the operatic world, are said to be unlike any other existing motion picture form. That they are fresh and indisputable evidence that the progressive development of motion pictures always has and always will come from within the industry, is an expression of the optimistic views of the producers. The eminent artists already engaged are under the direction of Mr. Murphy, while the business management and details of distribution is assigned to Mr. Macgowan, a familiar in the industry, and known all over the world as the first motion picture man to make a globe-tour in establishing foreign exchanges which had been closed by the war. Not only did Mr. Macgowan carry America’s motion picture banner to “ all points East ” as it were, but he resigned his position as general manager of the Universal to do so. To this may be attributed his deep interest in the larger aspects of the motion picture, his expert handling of foreign subjects and his keen appreciation of the importance of the economics of the industry. As the head of Universal’s financial and accounting department for many years he knows better perhaps than most, that art needs as a stimulant, an incentive, or to use an art term — a motif, as much as it needs anything — a sound economic basis. Therefore, his development as an innovator, an encourager of the dreams of others as they relate to the advancement of the screen, has not suffered because of this anchor of prudence. In his latest venture he asserts that he has achieved that rare combination, an artistic production elaborately produced, which will save the exhibitors hundreds of thousands of dollars, not in competition with other productions, but by giving them a satisfactory and economical substitute for special presentations, prologues and elaborate staging of features — which by the way, are the subject of one of the latest discussions in the trade press. In his office in the Candler Building, Mr. Macgowan outlined his plans as follows: “ Visual Symphonies, Inc.,” was organized for the production of a series of motion pictures based on the stories of famous musical compositions. Inspired by and synchronized with the theme of the composition, each production carries out, visually and in a dramatic manner, the rhythm and the story of the music. The idea, as explained by Mr. Dudley Murphy, its originator, who is directing the series, three of which are completed, is to take well-known composers and their compositions, such as Beethoven and his “ Moonlight Sonata,” Saint Saens and his “ Dans Macabre,” and show in an atmospheric and beautiful way the composer as he dreams and creates his composition. He will be in his studio, or at his piano, and as he starts to play, as his hands move on the keyboard, the music will start and the scene will dissolve into his vision, which is the interpretation of the composition, the action synchronizing with the tempo of the music. In the same manner the story of the composition is told, sometimes in realistic and sometimes in more illusionary and symbolic fashion until at the end the scene will return to the composer as he sits playing or scoring the composition. Some of these visual symphonies will be in tragedy form, others will be artistic comedies, while still others will be poetic fantasies. It is my purpose, and Mr. Murphy’s, to get a vitally human and emotional quality in these pictures, yet in keeping with the splendor of the compositions. “ Of the quality of the productions you will be better able to judge from some of the details of the first release which is Saint-Seans’ 1 Dans Macabre,’ although for obvious reasons it will be released as ‘ The Dance of Death.’ For this after much persuasion, I secured Mr. Adolf Bolm, beyond all question the greatest dancer and pantomimist in the world. If you hesitate about calling him that, I would like you to see his scrap-books, in which in some 20,000 clippings from the press of the world’s capitals, and in a dozen different languages, contain the very words of the phrase I used. All New York remembers, I believe, the sensation created by Mr. Bolm on his first appearance here with Serge de Diaghileff’s Imperial Russian Ballet. He is of course wellknown throughout the country, where he has appeared on tour, and now as ballet master of the Metropolitan Opera Company he has become an institution. It is Mr. Bolm’s interpretation of the ‘ Dans Macabre ’ which Mr. Murphy is using for the screen production and in which Mr. Bolm is appearing. “ Of equal fame, in this country at least, is Mr. Bolm’s partner in the death dance interpretation, Miss Ruth Page, prima ballerina of the Metropolitan. “ I feel safe in saying,” continued Mr. Macgowan, “ that the consummate skill with which the difficulties of production have been met will introduce to the motion picture patrons of this country something so new and unique in direction that its originator will instantly leap into public favor. I refer to the work of Mr. Dudley Murphy, whose artistic training began under the tutelage of his father, the celebrated Boston portrait painter. Mr. Murphy’s sympathetic knowledge of the twin arts — motion pictures and music — led to the endless experiments in synchronization which solved the entire problem of our interpretations. To him must go full credit for originating this new art form, one which he is convinced is destined to exert a tremendous influence, not only on the future production of pictures, but also on the use of music in the theatres. The phrase ‘twin arts’ is Mr. Murphy’s own, his contention being that music and pictures should be so bracketted because both are fluid forms, and because they alone of all the arts, make the most sympa thetic blending possible. You may instance in opposition art and architecture, but you will be wrong. Sculptured decorations and mural paintings are but details of architecture, which may be examined and enjoyed apart from the structure which they embellish; whereas, music and motion pictures as synchronized by Mr. Murphy, are so intertwined and blended as to be true complements each of the other, interpreting each other, yet conveying but a single impression. “ These facts brought to the attention of Mr. Bolm, was the final argument that induced him to undertake to appear in ‘ The Dance of Death,’ giving his own interpretation of that famous composition. This is Mr. Bolm’s first appearance in pictures. His rank as an artist and as a pantomimist has naturally brought him many flattering offers, but as he himself says, ‘ Somehow I could not see myself in the usual type of motion picture.’ However, I think it is the exhibitors and their patrons who are to be congratulated, because the very nature of Mr. Bolm’s art is such that he seldom if ever appears in person in any except the largest cities either here or abroad. The same is true of Miss Page. The opportunity given to the public at large to see, not only Mr. Bolm and Miss Page, but other artists equally celebrated, see them too in the particular field of entertainment they have made their own, and in which they are stars of greatest magnitude, will, I am sure, establish the Visual Symphonies as short subjects of the very' finest kind. As you may well suppose, having undertaken to present such famous people, I have taken care to surround them with details of production and accessories in keeping. Lighting effects for instance have been intrusted to Mr. Francis Brugere, peer of American photographers, a gold medalist of many countries whose work has commanded the admiration of painters as well as photographers. “ In short I have gone the limit in placing at Mr. Murphy’s disposal the most outstanding figures in the world of art, music and pantomime, to the end that the full value of his inspirations, his mental visions, may be brought out on the screen and synchronized with the famous compositions he interprets. “ There is a practical side as well, and for that reason we have kept all exhibitors, large and small, in mind in the production of the Visual Symphonies. Realizing that many different conditions must be met, we have prepared player rolls for piano, orchestrion and organ; music arranged to suit any house, from piano solo to full symphony orchestration. Each and every one is synchonized with the picture and so timed as to be absolutely fool-proof. The list of forthcoming releases shows this. They include among others under consideration : Debussy’s ‘ Faun ’ ; Beethoven’s ‘ Pastoral Symphony’; Japanese Melody from the ‘Nut Cracker Suite,’ by Tschaikowsky ; the RimskyKarsakoff ‘ Scheherszade ’ ; Schumann’s ‘ Scenes from Childhood,’ in eleven one and a halfminute versions ; Wagner’s ‘ Flying Dutchman ’ ; Tschaikowsky’s ‘March Slav’; Grieg’s ‘Peer Gynt Suite’; Beethoven’s ‘Moonlight Sontata’; Gilbert and Sullivan’s ‘Pirates of Penzance’; and Mendelssohn’s ‘ Fingal’s Cave.’ ”