Moving Picture World (Jun 1916)

June 17, 1916 THE MOVING PICTURE WORLD Musical Setting for "The Lights of New York." Released May 29 by the V-L-S-E, Inc.— Suggestions Prepared by S. M. Berg. (By special arrangement with G. Schirmer, Inc., Music publishers, New York.) THIS ".Musical Suggestion Cue Sheet" is not designed to solve every possible musical requirement of the film, but is intended as a partial solution of the problem — what to play for the picture. It has proven to be of great assistance to the leader, not only by relieving to a degree the tedium of reheaTsals, but by assisting materially in overcoming those conditions encountered when the film is npt available until the hour of performance. Musical Suggestion Cue Sheets can be obtained (free of charge) by managers from their local exchange in advance of the date of release. This will afford to the progressive leader an opportunity to acquaint himself with the general character of the film drama he is to portray with his orchestra. Together with the suggested music at the title or descriptive cues where it is to be played, the tempo or characteristic is given so that the leader can select or substitute any or all of the numbers from his own library, thereby avoiding any financial outlay though still carrying out the interpretation. The timing of the picture is based on a speed of 15 minutes to a thousand feet. The time indications will help the leader to anticipate the various cues which may consist of the printed sub-title (marked T) or a described action (marked D). For instance, 3yi T "Poppy Brown" is a sub-title and is printed reading matter on the screen. But 20 D "Hawk calls on dancing master" is a description of action. Hawk Chovinski, a sneak thief, holds up Yolande Cowles and her father as they are coming home from the opera one night and the shock kills the father. Hawk made such a small haul that he decides to become a society gentleman and ply his trade. His step-sister, Poppy, lives with him, but his brutality causes her to run away. After much suffering her lover Skelly takes her to Martin Dale, wealthy settlement worker and admirer of Yolande, who provides her with work. Hawk, posing as a Baron, works his way into high society and meets Yolande, who does not recognize him. He wins her affections and her promise to marry him. On the wedding day his real identity is revealed and he is imprisoned. Yolande then accepts the true love of Martin, while Skelly and Poppy are happily married. A considerable amount of action is at a popular restaurant showing the guests dancing. Great care must be taken in following the dancers' tempo. When banker passes th Hawk. The aged man receives T Little loot for his during. T "Yolande is terribly dull—" T Martin Hawthorne — (Piano only according to a( I mil ir the dazzling dome— "I was thinking And wi "Who is that n i brutal— l dancing i (Allegretto moderato (THEME) Arioso — Frey. Sylvia Waltz — da Sllvelra. Serenade — Ern. (Allegretto) Robinson Crusoe — Romberg. (One-step) Valse iirune — Krler. •Agitato No. 2. Repeat : THEME. A Garden Dance — Vargas. (Allegro moderato) 27# T The "rell< x few weeks' progress — vilh the i introduction — " sublime — Iscry, want As the "nan, n R( vi ii "To bind our friendship." At last induced i.. » When Hawk and Yolande dance 1 "Miss Cowles, I should like ' The velvet tipped talons— "It would be hard to say — " rerybody Hum with Mt — Romberg. (Two-step) The Julian Waltz — Klelneeke. (Two-step) Miie tie] Days — Romberg. (Fox-trot) MKMK Premier Amour — Benolst. 63% "Just a song at twilight — " Yolande's secret adventure. Waiting for the wilful one. And afterwards the "broad" "Mother, I have just — " "That man's face — " Mrs. James Cowles. (Wedding invitation.) "Here, Dora, take good cai Love's Old Sweet Song. "If there is any one presAfter the private detectives Skelly Lohengrin Bridal March. •Dramatic Allegro No. 1. Repeat: THEME. Then after all real love — 71 T The end. NOTE.— For the convenience of Moving Picture World readers a list of the numbers suggested in the above cue-sheet is to be fot G. Schlrmer's advertisement on another page. Insulting the Patrons. An Incident in a Theater. By S. M. Berg. ON a well-known thoroughfare a few nights ago, I noticed a crowd gathering in front of a small theater. Being curious to learn the cause of the disturbance, I joined the throng. The doorman and a patron were having a heated argument o a fight would ensue, and inquired the c ticket and it seemed that rho held authority came upon the scene of the trouble. In a few brief words he satisfied the patron that the doorman was wrong and asked him why he dared insult his patrons. He then made it clear that, right or wrong, the patron must always be right. The next time the doorman took the liberty of insulting a patron he would lose his job. Impressed by this remark, I felt that this exhibitor gives careful attention to details, which tends to make an audience satisfied. I entered the theater. It was a clean, orderly house, capacity about eight hundred, with comfortable chairs, uniformed ushers, no posts to obstruct the view ; in fact, a model house as far as appearances go. The projection appeared to be good, and the house was well filled. I found a seat in the second row, and naturally my attention was directed to the music. I saw a young man, the pianist, struggling through a waltz in D, but. to be frank, it sounded like L. The picture, which was a scenic, finally ended and the music stopped, much to my relief. A few slides announced the coming attractions— then the feature was thrown on the screen. In the meantime, two young women took seats in the front row. Evidently they were the pianist's friends, for the three began an animated conversation. The feature was well under way when a young man with a violin case came down the aisle and Jumped over the railing. He greeted the pianist and the young ladies and then leisurely opened his violin case. He looked up at the feature a minute and then decided that he was there to play. He called the pianist's attention from his friends and had him strike A a few times so he could tune up. He then hurriedly searched through the muelo cabinet and finally found some music which he placed on the stand. The picture had been running now about ten minutes when the orchestra (?) started a late fox-trot. Without looking at the picture, tho violinist sawed through the number, even failing to train played with equal forte and the whole, being entirely out of harmony with the picture, was most distressing. when «a: the manager all thli timet Probably In the box office. . nit. ami wondering why bUBlnOBI WM not better. Perhaps he wai helping in poi * * show. Th,. violin rranmerel. The n.-xt scene was an Indian war dame. I.nt the \ inline t Ignored the change. Evident ly be wa determined to play Bebumann'i maaterpleoe to the end, as he continued playing it during tho seen,, where the Indiana went on the warpath. Attempting to turn the music, the pianist let It slip and fall to the Moor, ii. attempted to "fake" an accompaniment, but without ..ir Schumann's. Traumerel came to an abrupt . n unit laid down his addle and *at back to rest ■ while (hi needed It) and enjoy the picture. I saw and heard enough, and walked out. As I reached the door, the •man Who had reprimanded the doorman rcina:. ; night." l'cbating with myself a moment. 1 wondered whether or not I should point out to the manager that he wa In-ulting hi . patron hy tolerating BUOh inferior musical Interpretations. 1 realized that "discretion Is the better part of vnlor" and left the house. All tho glaring errors and Indifference of the musicians escaped the watchful eye of tho manager. The doorman was severely reprimanded