Motion Picture News (Jan-Feb 1922)

658 Motion Picture News Premiere Presentation of “Sin Flood” Complete Music Score with Editorial Comment by E. R. Rogers, Manager, Tivoli Theatre, Chattanooga, Tenn. * USIC hath its charms” in a motion I Y' I picture theatre only when intelligently adapted to the picture projected on the screen, and not directed to the aesthetic surroundings of the theatre. Interpretation of a motion picture with music calls for not only careful thought but arduous duties on the part of those who have that portion of the entertainment in their care. A photoplay must be expressed as the author and director conceived it, or it dies aborning in a celluloid mausoleum so far as the public is concerned. There are many fine productions which fairly scream for expression, but yet some theatre directors permit the temperaments of their orchestra leaders to dominate, and as a result the musical programs are in the nature of concerts, and ingenuity of author and director are lost in meaningless sound and flickering screen lights. Visualization of a picture before any attempt is made to lay out the score is the essential thing, as the writer sees it. Then the various situations can be intelligently expressed. Many a picture has been made morbid with musical renditions when the idea of the author and director was to the contrary. If the music is directed to appeal to the emotions of the spectator and at the same time harmonize with the dramatic situations of the play, then it has been successfully handled. But— how many ex hibitors get this result from their orchestras? “The Sin Flood” is a picture that makes a high bid for proper music motifs. The Tivoli theatre, so far as the writer knows, is the first theatre in the states to play this unusual production. (Correct me if I am wrong.) The picture was booked for January 4th, 5th, 6th and 7th. Arrangements were made for the first screening — the initial step in our process of visualization— both orchestra director and organist were called into the screen room. The picture was viewed, but no notes taken. Then a general discussion ensued — a policy to which we always adhere. Screenings beings conducted at night, the next day was employed in searching out themes that would cover the general idea of the story. Here are our first notations: Poppy’s Theme — “ Poppy Blossom Dreams ” — Pascal. Minister O’Neill’s theme — “Grail Motif” from “Parsifal ” and “ Palms.” Fraser's theme — “ Kundry Motif ” from Parsifal. Billy Bear’s Theme — “ A Young Man’s Fancy ” from “ The Music Box.” Nordling’s theme — “ Norwegian Serenade.” Higgins’ theme — “ He May Have Seen Better Days. Levee Joe’s theme — “ The Arkansas Traveler.” Charlie’s theme — “ On the Mississippi.” Flood theme — “ Flying Dutchman.” General themes for group situations: “The Land of Beginning Again Where Broken Dreams Come True. “ Friends ” from “ The Rollicking Girl.” “ Blessed Be the Tie That Binds.” Now for the musical interpretation of “The Sin Flood.” The picture opens with a view of the Mississippi River. What is more appropriate than “On the Mississippi”? The town of “Cottonia” is shown. Here “Waiting for the Robert E. Lee” is interposed. Our next direct cue is the demonstration of the water tight doors in the Stratton Cafe. The flood theme is suggested. The scene then shifts to the Cotton Exchange exterior. Billy Bear, the young clerk, appears. An atmosphere of liveliness precedes the tremendous action that is to follow. “ The Missouri Waltz ” lends to the happiness. Then “Poppy of the Chorus” is introduced, which is a signal for “Poppy Blossoms.” A flash back to the saloon and “On IN publishing this special article on the musical score prepared by Managing Director E. R. Rogers, Prof. I. R. Summers, conductor and Miss Jeanne Wilson organist of the Tivoli theatre for “ The Sin Flood ” Chattanooga, Motion Picture News expresses appreciation to Mr. Rogers as author and his co-workers. The article was prepared at our request as a service to the exhibitors who will play “ The Sin Flood ” later and is the first of what we shall attempt to secure from the orchestra leaders and managing directors who play premieres on pictures that may be expected to secure more than an average number of bookings. Advance notice of premieres will be appreciated. the Mississippi” is taken up again. Poppy and Billy appear. “Poppy Blossoms” is used again. Then comes Levee Joe into the story. The director’s idea was not only to put over a clever bit in the wreck’s inability to sense what is happening around him, but to inject humor to break the tense situations. “The Arkansas Traveler” must be appropriate, for are not Arkansas and Louisiana closely located? We then flash back to the cafe. Billy, Poppy and the girls are here. “Poppy Blossoms” is a tuneful and suggestive air. Into the story walks Fraser, an abrupt, ominous character, which bids for something heavy like the Kundry Motif from Parsifal. Immediately follows the appearance of Levee Joe, and “The Arkansas Traveler” is a decided contrast to the Kundry Motif. Brandy Swift is next on. He meets Fraser. They have been enemies for ten years. Fraser’s theme again. The scene then shifts to the luncheon party. The cue is “Poppy Blossoms.” Billy Bear gives a toast, and here we use “Absinthe Frappe.” A flash back to the bar. Fraser’s theme. Levee Joe walks in and turns around and walks out again. “He Walked Right In and Turned Around” is immediately suggested for comedy relief. Scene shifts to luncheon party. Billy Bear is gay. He kisses Poppy — “A Young Man’s Fancy” is appropriate here. Poppy asks, “Do You Love Me?” “Poppy Blossoms.” The title — “Monday in Offices” is expressed by “A1 Fresco.” Fraser enters — Fraser theme. Billy Bear’s siesta is interrupted. In next scene he is shown at desk. Telephone operator becomes ill. “There Little Girl Don’t Cry” is the cue. Fraser and cotton brokers in conference. Billy takes phone and listens in. Fraser’s theme is used to make situation ominous. Billy leaves office. Billy shown in conference with Swift — Agitato. Title flashes — “The Next Spring” — “In the Spring a Young Man’s Fancy” seems just the thing. Title flashes: “Poppy has no place in the new life” — a cue for “Forgotten.” Swift’s daughter appears in limousine. The selection is “Beautiful Lady” from “ The Pink Lady.” Billy drives off with her. The theme “ Forgotten ” is used again. Here the light atmosphere is arrested. O’Neill, the itinerant preacher, appears. The roll of timpanis forebodes the ominous speech of O’Neill. A close-up of some darkies is shown. Four measures of “Old Black Joe” are used here. During the harangue of the preacher, the minister’s theme is employed with much stress upon the timpanis. Poppy is shown approaching Stratton’s Cafe. The title is “The Road to I Don’t Care” followed by “The Morning of Billy’s Wedding.” We revert to “A Young Man s Fancy. ’ The saloon interior again calls for “Waiting for the Robert E. Lee.” Close-up of group reading newspaper. Flood theme. The question is asked — “How about the levee?” The selection — “I’ve been working on the Levee.” Preacher, actor and Norwegian appear on the street. Minister theme and “Better Days.” The telegraph station above the city is shown. The storm is on. The orchestra starts at this point for a fifty-five minute session. The storm and rushing waters is expressed with “II Guarany” by Gomez. From here on the action is intense. I list the cues as we worked them out. You will notice that we did not fail to take advantage of the humorous situations; nevertheless, we keep the timpanis in a sullen roar most of the while. When the itinerant preacher and other principals start singing “Rock of Ages,” the orchestra pauses while the organ takes up the selection. This is very impressive. Later “Lead Kindly Light” is sung and the organ is again used. When the climax is reached the organ joins in with the orchestra and a chord from “Pagliacci” is held for half a minute, crashing off as the door is thrown open to the supposed lurking waters. What better selection could one make than “Pagliacci ? ” The words are : “So you will see love shown as human beings do love each other. You will see too of hatred, the direful ending. Witness woe’s sharp agony. Howlings of rage will reach you, and scornful laughter.” The cues and musical selections for the dramatic moments from the point the storm breaks until the prisoners are released: The telegraph station — 6/8 alio, ttmpestuoso — Scotch Poem — M c Dowell. The flood starts — 4/4 alio. — II Guarany Overture — Gomez — at letter K. Poppy enters saloon — 4/4 alio, agitato — Erl King — Schubert. The levee’s gone — 6/4 alio. — Overture — “ Flying Dutchman ” — Wagner — at 7. Bartender closes door — 4/4 alio, storm — Furioso No. 1 — Langey. They’ll keep the air out — 4/4 adagio — Selections from Faust arr. by Serdy-Fischer — 1st movement. Robert Sharpe — 4/4 agitato — Fourteen Fathoms Deep — Lake. Billy looks at Poppy — 4/4 modto. — “ In the Land of Beginning Again.” Hour after hour — 3/4 cendte — Waltz Pathetique — Bason — Very slow. Start singing — “ Rock of Ages ’’—organ alone. There is one long path — Largo — Largo from New World’s Symphony — Dvorak. They join hands — “ Abide with Me.” Close-up of Poppy — “Lead Kindly Light" — organ alone Suffocation is slow death — 4/4 modto. — “ Land of Beginning Again.” Now Poppy — 4/4 modto. — “ Poppy Blossoms ” — PP. At second close-up — Pause — until — “ Lay On MacDuff ” — Tympani for awakening. Champagne cork hits tramp — “ Arkansas Traveler.” Fade to minister — Prelude Deluge. Tramp with bottle — “ Arkansas Traveler.” It has come — Selections — “ Pagliacci ” — Schirmer. Long chord at end of Piu Mosso for opening of doors — Pause. — 6 seconds. The organ takes up the remainder of the action, as relief for audience. The selection “ The Land of Beginning Again.” This is very colorful. Close-ups follow. Poppy awakens. “ Poppy Blossoms.” Close-up Bartender. “ On the Mississippi,” Fraser — his theme. Title — “ Brothers in Love ” — Fraser theme. Norwegian and old actor move up to counter for another hand-out. . . . “ Auld Lang Syne ” is just the thing. “ Should auld acquaintance be forgot, etc.,” lends a touching element to the action at this point. Billy Bear is called on the telephone by Priscilla. The selection : “Beautiful Lady.” Poppy leaves. Here we use “Forgotten” theme. Title: “You robbed me, eh?” As a bit of sarcasm we interposed “ Friends ” from “ The Rollicking Girl,” the words of which start as follows: “ Friends that are good and true, etc.” Levee Joe is waked from his sleep. “ The Arkansas Traveler ” here. Poppy is seen on the street. Poppy's theme. Billy arrives on the scene — his theme is used. Continue action, closing with scene on steps of public building.