Moving Picture World (Jul-Sep 1911)

THE MOVING PICTURE WORLD 787 Music for the Picture By CLARENCE E. SINN PENNSYLVANIA asks: "What is the use of talking about applying intelligence to music for the picture vwhen so often there is little or none applied to either the making or the showing of it? Some photoplays seem so utterly void of any kind of sense, either common or uncommon, that it is almost impossible to make or mar them by any sort of musical adcompaniment; witness some of the Western pictures for example. I have resided in the Far West .at one time of my life, and know something about both cowboys and Indians, and I can say that the actions and antics of some of these characters as depicted upon the moving picture screen are a long way from being representative of the real article. Some times it seems a waste of time to try to work them up; a lot of 'rag marches' is just about their calibre, and is all that they deserve anyway. Besides, I think that the person who enjoys that kind of picture would prefer it served with that kind of music, so what's the difference? "The Western picture is not the only sinner of the cheap and silly class, though they seem to predominate. Some of the other kinds of melodrama are just as bad. A person •does not have to be a playwright or an author to see the inanities of such pictures. If a piano player is expected to Tiave enough intelligence to play appropriate music to the picture (and we are being constantly reminded that he is), he may likewise have enough sense to be disgusted with the •childish stories and action he is compelled to look at night after night. And another thing: When we do get a good picture, what generally happens to it? When business is light we may hope to see the reel run at a normal rate of speed, but as soon as the house is full and a few people are waiting at the door — 'Zingo!' Let 'er spin. A thousand feet in ten minutes if you can. Characters and titles whiz across the screen so fast one really cannot tell what it is all about. The manager's motto is 'pack 'em in — throw 'em out. A show every thirty minutes.' The manufacturer's motto is also: 'Throw 'em together any old way. A new picture every twenty-four hours.' Of course, it isn't always that way; if it were we wouldn't know the difference. Sometimes we do get a mighty good picture. And sometimes the pictures are run the way they ought to be. But how many times a fine picture is spoiled in the running and how often we get them that are not worth running at all! Sometimes I think people have a nerve to criticize musicians for playing inappropriate music. To follow the picture correctly, the pianist must keep his attention constantly fixed upon it, and that is enough to drive a fellow insane. A friend once asked me if playing in a picture theater makes musicians crazy, or if they have to be crazy before they tackle the job. I pass it up. What's the answer?" Our pessimistic friend outlines a hard condition of affairs, though his peevishness is not wholly without reason. However, I don't know what there is for me to say or do about it? Neither the manager or manufacturer is in the business for philanthropy. If they have any mottoes at all, they are probably "make hay while the sun shines," or "a dollar in the hand is worth two in the bush," or something like that. All you or I can do is just do the best we can — make the best of it. Things will get better by and by. Why don't you take a vacation?" Another, also from Pennsylvania, says: "I have two bosses; one of them likes the music very soft and slow, while the other claims I cannot get it too loud — even with the loud pedal on. Now I don't know how to play to suit both, but I think it horrible to deafen the audience with a constant bang. What can I do?" You say you have two bosses. Find out which boss is boss of the other boss. Then put on the loud pedal. Some time ago a letter appeared by Willard C. Beane containing the very excellent suggestion that manufacturers of films publish a more detailed description of their releases for the benefit of musicians — something which would be a real guide in the selection of accompanying music. A couple of years ago the Edison Company went further in this direction and published a complete musical synopsis with description of the various kinds of music required and "cues" for beginning and stopping each number. Whoever got out those "dope sheets" for them knew his business, but for some reason they were discontinued. I feel sure if they and other producers as well would give us some more of the same thing, at least for the more important films; their efforts would be highly appreciated. Such a proceeding would make it possible to add to the interest of the show and thereby add indirectly to the value of the picture. I notice Friend Bush is interested in the Wagnerian motif idea as applied to moving pictures. You will remember P. C. H. Hummell started quite a little discussion on that subject last January. It brought forth several responses, if I remember right, but the interest died out. I am glad so able a writer as Mr. Bush has brought the subject forward again. My opinion is that the themetic idea (or hit motif) may be an important factor in the music for the picture of the future. It is possible to apply it occasionally even now (per Bro. Hummell), but a large part of present day pictures are so utterly devoid of motif or motive either that a little string of tunes seems about the only practical way out of it. By the way, we haven't heard from Brother Hummell for a long time. Maybe he can offer us something more on the subject. Mrs. C, Washington, asks what to play for "cowboy" and Western pictures generally. About once a week I receive this question and have answered it to the best of my ability in this page or by letter. There is really little to say. I have suggested the "cowboy" songs and intermezzos, of which there is but a limited number on the market, as being the only things I know of which might answer for "local color," this being apparently the objective point. If the picture is of the comedy order, as many of them are, the principal thing in my opinion is to keep your music up lively. A fast moving comedy of any character, cowboy or otherwise, is best supported musically by lively, brilliant stuff. The pictures in question are usually of the slap-dash, rough-and-ready order, whether they are comedy or melodrama, and your music should be in keeping. Good, snappy marches are often useful. Melodramatic situations are treated as in any melodrama. But the horseplay and long chases and comedy scenes generally are fast and require little working up except lively music. The principal thing is, don't let it drop. If any little bit occurs which you think can be brought out better by using a song chorus, use it. You will not be apt to hurt the picture if you keep on playing. That is the important point. Keep it up lively. If the action subsides a little you can introduce a waltz or novelette, and in the sentimental scenes (when they do occur), you will often find a popular song to fit in very nicely. I think I have said all this before, and I am aware that it doesn't amount to much, but it is the best I can offer. Ona Otto. — San Francisco writes: The absurdity of the music that is doled out as an accompaniment to the moving pictures in the smaller houses is even getting on the nerves of the local newspaper writers. In a recent issue of the San Francisco "Post" a clever reporter protested in the form of ridicule, to the extent of a column, the incongruity of the tunes that rend the air and pain the ear as one sits and watches what would be effective tragedy and comedy if it were not marred by the constant grinding out of maddening music. The article in the "Post" was headed with four big black headlines, which were as follows: "Cruel Persons Enact Cruel Scenes With Cruel Music;" "Mechanical Chimes — "Gee, It's Great To Be Married." — "As Widow Starves;" "Call Me Up Some Rainy Afternoon" as a man dies; "Why is it we enjoy these inharmonious things and call them good?" The writer then goes on to describe several pictures, mostly serious, as illustrative and of the frivolous music that kept blissfully issuing from what he calls the "canned orchestra." Of course, as he says, the managers of nickleodeons are not as a rule either artistically, musically or esthetically inclined — they're out for the nickel (but who isn't the.se days?), but for the sake of the moving picture business as an art, a law ought to be made by somebody to either have no music at all or the kind that doesn't cheapen the pictures.