Moving Picture World (Jul - Aug 1918)

400 THE MOVING PICTURE WORLD July 20, 1918 synchronized to a nicety and made the scene live. Mr. Reiser conducted the feature, and we liked his well marked beat. In his overanxiety to catch the cues he sometimes chops off the music before a cadence or natural ending of the phrase, but experience will eliminate this fault in an otherwise good director. During the wedding scene the organist played both Wedding Marches of German origin. Fundamentally and from the picture presentation standpoint be was right, but in view of the strong feeling against German music it is good judgment to refrain from bringing into the atmosphere an antagonistic thought. The overture, "Madame Butterfly," by Puccini, was directed by Oscar Spirescu in a muslcianly manner and with a broad interpretation that was pleasing. "Madame Butterfly," an opera in two acts, music by G. Puccini. This opera, which from the first aroused the keenest interest among opera-goers, has become an enduring success. The original Metropolitan production in Italian was under the personal direction of Puccini himself, who refined and beautified it according to his own ideas into one of the most finished operas ever produced here. The story of the drama is familiar to all through John Luther Long's narrative and the Belasco dramatic version. The tale is the old one of the passing fancy of a man for a woman, and her faithfulness even unto death, which comes by her own hand when 6he finds herself abandoned. Puccini has completely identified his music with the sentiments and sorrows of the characters in John Luther Long's drama, and has accompanied the pictorial beauty of the various scenes with a setting of incomparable loveliness. Rarely has picturesque action been more completely wedded to beautiful music. The sitting and the lighting effects that went with this overture was typical of the Strand. Mr. Harold Edel has developed this part of entertainment to a high plane, and no pains are spared to make It the hall mark of this national institution. Musical Suggettion Synopsis. ANNEXING BILL (Pathe— F. -No Theme Necessary. The music for this picture should be only moderately heavy, and some slow waltzes will be found very effective. Note the two dancing scenes in th. our light selection be proi synchronized. The first dai.. is followed by the depiction of an old man playing a violin. Mere you should use a violin solo without any accompaniment whatsoever. Then you will find the second d. Bne following Immediately after. This is the only tricky part of the feature, but if accurately gauged you will obtain i results. Cue si from the Pathe exchange. ACE HIGH (Fox — Five Reels) — Theme — Slow Moderato. Suggest "Land of Dreams" — Drtffll, "Canzonetta"— Nicode, or "Melodle" — Frlml. This picture deals with the Cauad and Is rich In pastorale effects. You will Deed some agitatos, a couple of foxtn I rsbly of .. I. There is an opportunity to u . a short American Indian theme to depict the squaw. It wi >'>' >'our aU;! . r. You will also need some fast allegros hould be heavy dramatics. Cu< can be obtained from CLAW, Till: (Select Bb Vnlantino. Dreams" I Hour"— lfoUton, or Doenhof. This feature will give you some trouble. The atmosi rKcly African, and you m;iy , some Oriental stuiT. Get all the African music you can ! wiH (it nj, y and the few flash will find excellent i„ "Three All Cocoa-Nui > Herman; "African 4ki." by Rob< rl on ol Bal "The Arabs Dr. am." by Kendall. Tl ' for lhls pictui ul"»» by <.<[• ful si The I und ln atmospheric numbers vwll give you be obtained from tl FAIR PRETENDER, Tin grotto. Sugg' of Love" — Bendlx, tation" — r^uzenza. The picture has some dramatic v« musically. It opens with li^ht stuff, gradually working up to Its climax in the fourth re. 1. You will tensions, a couple of popular I nd a one-step. Cue sheets can be obtained from the Coldwyn exchange. FIREFLY OF FRANCE, THE ( Paramount— Five Reels)— Theme — Andante. Suggest ? ? ? ? It would be well to open this picture with the "Marseillaise" to establish the French atmosphere. Light mu-ic will follow, and good Judgment would dictate those of French origin If possible. Use Bizet, Chaminade, Balioz, Massenet, and Chopin if possible. During the last two reels you will need considerable dramatic stuff, agitatos, and a battle hurry. Close with either the theme or the "Marseillaise." Cue sheets can be obtained from the Paramount exchange. GIRL IN HIS HOUSE, THE (Vitagraph— Five Reels)— Theme— Moderato. Suggest "Serenade"— Chaminade, "Serenade"— Widor, or "Whispering Willows" — Herbert. The character of this picture is a modern society drama with American atmosphere. The music necessary will consist of light stuff intermingled with a misterloso dramatico and an honest-to-goodness misterioso. Note the possibilities In the reception scene, where you may use a violin solo with splendid effect. Watch for the shot after Doris gets the gun. A railroad effect can be worked providing you do not overdo it. Cue sheets can be obtained from the Vitagraph exchange. HER FINAL RECKONING (Paramount— Five Reels)— Theme— Andante. Suggest "Nocturne"— Kargauoff. "Romance in F." — Tschaikowski, or "Three Songs from Hliland — Yon FielltB. Here is a grand opportunity afforded for a big musical setting. The atmosphere is English, with a touch of Gypsy. The picture opens dramatically blending into the pathetic. After what you might call the prologue we are introduced to the Gypsy life of the young heroine. Here you have a chance to use a violin solo taking as your subject a weird Hungarian melody or one of Dvorak's masterpieces. At the proposal of the prince, which is shown in the garden scene, you may begin the Nocturne of Chopin in C minor. This long number will bring you through the dramatic meeting of Count Menko and our heroine, and it will lit every foot of the film. As Count Menko relates their former meet ins the strings should play a Venetian Love song, pizzicato, to imitate the guitar with which he is seen accompanying himself. Do not play the Wedding March during the marriage between the prince and our heroine. Use a strong processional instead. Cue sheets can be obtained from the Paramount exchange. MAN'S WORLD, A (Metro— Five Reels) — Theme— Andantino. Suggest "Gardenia" — Densmore, "Serenade" — Strube, or "Love Song" — 'Powell. Here you have an emotional modern drama with French and American atmosphere. Open with the theme, and follow up with some light French stuff. During this picture you may use violin and piano solos to splendid advantage. In the fourth and fifth reel you will require some heavy dramatic numbers, and not in the French style. Be sure to mark the contrast in your music when the location is changed. I is can be obtained from the Metro exchl SHARK MONROE (Paramount— Fivi Reel I— Theme— Andante. SugMy Dreams" Lee, "Longing" — Armand, or "Regrets D'Amour" — Bright. This is the tale of the Klondike country, a story of the gambling gamer, sodden sots, and roush ruffians. You will need some pastorale music, some pathos numbers, and a few dramatic tensions. Have a tWO-atep ready for the dance hall scene. Y'ou will require a furioso in the first reel and a big agitato in the last reel. Cue sheets can be oht.nn.d from the Paramount exchange. WE CAN'T HAVE EVERYTHING (Paramount— Five Reels)— Theme un Llght music Is what you will need for this picture. Select numbers with lots of pep to them. No spi osphere or effects are prevalent, and the only suggestion which might be helpful is the wedding sen. at the close of the picture. The cue Bheet bu r There." but we think this I Play a processional march as a fitting finish and a suitable selection to the scene. Cue sheets can be obtained from the Paramount exchange. New Firm to Handle Picture Music. a charter Belwln, inc., New York City, to conduct theatrical and motion picture enterprises and publish $12,000, with is Sol. 1*. Levy, Charles Hollender, and s. m. i s. i'. Levy and s. H. Berg have for a Ions tl Intimately mi. .1 with tin .i music, and their publications has of features. The i itlon should from many standpoints. It will mean the Joining of both r a single b.-ad. winch will make it loom larger for pic ments will find a wide field In rigtnal ideas of Mr. Berg, and together they ihould make a fine ntlemen ku»w ■ the orchestral leader, ie quallfli .1 in i dltor of thll department extends his good wishes for their joint venture, und will continue to keep the standard of their upon the high planes of legitimate art. Leader's Service Bureau. Questions Answered — Suggestions Offered. Q. A certain producing company has discontinued the distribution of cue sheets, and I am lost without them. I I t6T up with my employer, and b to write them for the mUBlc which we have been accustomed to get. Can you suggest a A. Sim. you were cood enough to add the name of the company ln a sally call upon them ami urge the necessity of the In the mean tune if you wi.l send us a list of your pictures which you expect to play we shall be pleased to give you a little Idea of what you will need In the way of music. We feel sure that no com ■•N a regular program can afford to neglect the orchestras of the exhibitors. • • • Q. I am a lady saxaphone player, and desire to learn to play the clarinet, with a view to playing In a picture theater orchestra. Is it hard to learn, and where can I procure suitable training? A. Having played the saxaphone you naturally read fairly well, and your knowledge of fingering will prove helpful. Of course, the fingering of a clarinet Is entirely different, and may be confusing at the start. If you will write to C. H. Dltson & Co., Carl Fischer, or G. Schlrmer, Inc., all of New York, they will be phased to send you a list of text books treating with the playing of the clarinet. Study these well yourself. Practice the exercises therein, and when you mastered the rudiments secure a good teacher. Whatever you do be sure to get a thorough grounding before trying to appear in public professionally.