Motion Picture Story Magazine (Feb-Jul 1912)

The Motion Picture and Grand Opera By S. WHITNEY TODD There is considerable of promise in the possibility that the Motion Picture will also give its assistance to the cause of Grand Opera. The experiment has been tried, and fell short only of complete success, because no effort had been made to harmonize the film story with the music that should accompany it. Musicians, however, appreciate their opportunity, and already a movement is afoot to make the co-relation of the two instruments of the art more apparent. The dominant feature of grand opera is the music score. Were it necessary, that could be interpreted by a chorus and orchestra, unaided by any of the elaborate costuming or staging that must accompany an actual performance to receive popular attention. But the standard of acting by the great singers usually does not measure up to their vocal interpretation. Not always is the good singer a good actor. No man. can serve two masters, namely, the vocal and the dramatic arts. The Motion Picture actor is devoted alone. to the art of acting. In grand opera, thru the Motion Picture, he must leave that to the singer actually before the audience. The spectacular in grand opera can easily be furnished by Moving Pictures. There is nothing more convincing or stirring than a film production of an impressive scene, accompanied by suitable music. The Motion Picture has already made use of the grand opera stories, and epitomized and dramatized them. The story of "Aida" has been given in Motion Pictures, also ' ' Faust, Trovatore, and others, and they readily lend themselves to film production. The witchery of "Hansel and Gretel" is much more effective in Moving Pictures than in the actual stage version. The recent experiment was not a complete success, because an attempt was made to combine the Motion Picture version of the grand «opera with the actual score of the opera presented, and as each traveled along its own lines of development, the union was not a happy one. But the experiment served to suggest the possibilities of co-operation and co-ordination between the two. Motion Picture reels depicting before the eye every scene in grand opera as given on the stage, could be made, so as to follow every aria in the musical score. Soloists and a large orchestra would be required to care only for the interpretation of the musical score, for the spectacular could be left to the skill of the Motion Picture. There is no reason why this arrangement should not succeed. A further trial awaits only public demand, for the Motion Picture caters to the public taste, and that alone. The benefit that the Motion Picture would bring to grand opera in this way is incalculable. What is now an entertainment for only the wealthy would be brought within the range of the slender pocketbook of the poorer citizens. The music makes its appeal to the ear, but the Motion Picture seeks to engage the eye. The combination of the two would certainly prove to be a fortunate one, of the sort that always makes for higher ideals, education and culture. <j*jxjx*><$xjxe> High art consists neither in altering nor in improving Nature; but in seeking thruout Nature for "whatsoever things are lovely, and whatsoever things are pure" ; in loving these, in displaying to the utmost of the painter's power such loveliness as is in them, and directing the thoughts of others by winning art and gentle emphasis. Modern Painters, Ruskln. 156