Moving Picture World (Jul-Sep 1911)

6i8 THE MOVING PICTURE WORLD His father lias come to plead with the clown to visit the sick child, and there is nothing lively about the scene. Likewise at the bedside when the clown beats the drum, if "Marcelline" (or any lively music) is used, it should be played very softly so as not to conflict with the general atmosphere of the scene. Otherwise the change from sad to gay would be too marked. I should prefer pathetic all through and let your drummer work the sound effects of the little drum in the sick room. That would be suggestive enough, and even this should be subdued. Keep your pathetic to the close, swelling to forte when they shake the clown's hand, and keeping it up till the finish of picture. The following suggestions are offered: Spirit of the Gorge (Edison). — Indian music all through. ''Bellstedt's Indian War Dance," "Os-ka-loo-sa-loo," "Sundance." and the Indian music from Herbert's "It Happened in Nordland," will be appropriate. The principal thing is to sustain the Indian atmosphere. If you have any heavy, mysterious music it can be introduced to advantage in the second scene, "Worshiping the Spirit of the Gorge," and in the scenes where Kewanee is seen swimming in the gorge until the rescue. Then Indian music till close on the sentimental order if you have it. Alabama writes: "Why don't you add a department for drummers to your page? Everyone is ready to give the drummer fits; why don't you do something to help him? I have been in the business for about seven years and am classed as good, but I know that I fall down miserably sometimes on the effects. Music don't bother me so much. I use my best judgment, but why don't some one offer some suggestions?" My principal reason for not adding a drummers' department is the very good one that I am not a drummer. But the idea is good nevertheless, and would no doubt be welcomed by many. -As I mentioned in one of my early letters, I would like to make this page a common meeting ground for us all — that does not mean piano players exclusively. If our drummer friends have anything to offer for the good of the cause, their suggestions will be given consideration. But please make your letter brief and to the point. While on the subject I wish to say that the few opinions I have ventured on this matter I owe to the courtesy of Mr. W. E. King, the inventor and the sound effect man of the Orpheum Theater, Chicago. (Mr. King also has charge of the orchestra in this theater.) I am indebted to Mr. Kipkowsky (Mr. King's violinist) for the following suggestions: Satan's Rival (Pathe). — First strain of "Pasha's Dream (Bendix) till castle scene. "Cupid's Garden" (Gavotte) till change. Mysterious weird till "Satan disguised as Prince, etc." March from "Aida" till "Good Fairy," etc. First strain of "Imam" (Oriental) till "In Spite of Bertrade," etc. Cleopatra March (by Gruenwald) till "Satan overwhelms," etc. "Vision of Salome" (Lampe) till processional scene. March "Queen of Sheba" till dance of spirits. Second movement "Pasha's Dream" till "The Fairies," etc. Valse lento "Armenonville" (Chas. K. Harris) till "With the help of the Fairy," etc., then bold heroic or polanaise till Hermit is on with Princess and others. Agitato (piano) till Satan disappears in flash. Apotheosis from "Faust" till finish. Pathe's Review, Aug. 8th.— "Rule Brittania" till statue, then "God Save the King" till change. "Rule Brittania" till statue; "God Save the King" till "Long Branch," etc. March, till "Paris. France" then "Marseilles" till "St. Petersburg, Russia." "Russian National Hymn" till "New York," etc., "Hail Columbia" till "Nice. France," "Le KicKing" till "Pottsdam, Germany" then "Watch am Rhein." till "Saratoga, New York," etc.; march till finish. LIZZIE PLAYS FOR THE PICTURES. By Wilbur D. Nesbit in Chicago Post. A PROGRESSIVE EXHIBITOR. In writing to the Kalem Company concerning their releases, S. L. Rothapfel, the manager of the Alhambra, Milwaukee, Wis., says: "We are presenting pictures in this theater in an advanced form, using an orchestra on the stage with special stage settings, a staff of soloists and effects to make the performance as realistic as possible. I am sure if you could see this performance it would do your heart good. It is a very common occurrence for my audience to encore a picture for several minutes. The letterhead of the Alhambra says: "Milwaukee's foremost theater." This is a very modest claim indeed. Here we are in New York City, which is claimed to be America's foremost city, yet we do not have an all-picture show put on in the style that it is done at the Alhambra. We are living in hope that some day a New York exhibitor will rise to his opportunity, meanwhile we compliment Milwaukee on setting the pace in other things besides the brewing of the amber thirst quencher. Lizzie plays at the nickelo — Plays for the moving picture show, All the time must her fingers go With an endless whirl and a rhythmic flow And a ceaseless flitting to and fro; She fakes and vamps till her hands get cramps And there is no tune that she does not know; With a tum-te-tum and an aching thumb She keeps the time with her chewing gum, She chews and chaws without a pause, With a ragtime twist to her busy jaws, And her fingers fly as the hours go by; She pounds the keys with a languid ease Till the folks go home and the pictures cease; She never halts, it is march and waltz While her aching thumb to the bass keys vaults; And the two-step, too, and the song that's new — The tinkling tune of the summer moon And the lazy croon of the loving coon And the air of the song of the throbbing heart That will tell of two that the world can't part And is wholly free of the taint of art; But Lizzie plays like a grim machine, And she never thinks what the measures mean, For she's played them oft and the notes don't waft Any thought to her that is sweet and soft; There's a wrangling chime as her fingers climb Up the yellowed keys as she beats the time, For the show that costs but half-a-dime. And she chaws and chews as she seems to muse On the flying films and the flitting views, And her hands jump here and her hands jump there, While betimes with one she will fix her hair, But she keeps right on with the other hand In a ragtime tune that is simply grand With its rum-ti-tum as her fingers drum. And a burst of bass when she whacks her thumb On the lower keys, and a sudden frown As she jabs the loud, loud pedal down. But she wears no smile, for all the while She chews and chaws in a solemn style — And at night in sleep all her fingers keep An unchanging flight as they rise and leap O'er the counterpane in a wild refrain Of the tunes she has played with might and main. And her aching thumb beats a bass tum-tum While she chaws and chews in her hard-won snooze. In her dreams her task she still pursues — Lizzie plays in the nickelo — Plays for the moving picture show. IMPERIAL THEATER, JACKSONVILLE, FLA. The Imperial Theater opened recently in Jacksonville, Fla., to six thousand seven hundred paid admissions for the first day, and capacity houses have continued. An excellent five-piece orchestra furnishes additional entertainment and the management deserves credit for securing the services of some good vocalists. Baroness Von Zeiber, a soprano of no mean ability, is the feature for this week. The house is under the management of Mr. N. W. Remond.