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The Future of Melody Films
chestra, b marching band, or some other combination of musical instruments that might seem appropriate. The song will follow as a matter ol course, but only because it has some obvious inspiration.
These new workers in the films are
skillful, and they appear to be
careful students of what is required,
■ of them spending time constantly
on the picture sets. Therefore Holly
' proceeds into its second s< (^i music with some capable and painstaking creators. And that may help •tie up nicely the important percity of the music itself.
And what about the singers who'll render the SOngS? Can they. tOO, be improved ?
Most of the film stars themselves have forsaken the voca' It
was just too much of a job to learn to he an opera diva overnight. The s are now concentrating their efforts on speech. And here they are hound to fare better and better all the time, a- shown in the case of Norma Shearer.
Nancy Carroll. Joan Crawford. Loretta Young, June Collyer, Betty Compson, Lois Wilson, Mary Astor. and others are beginning to give us good, if not better performances than they did in the silent days.
The sir jje was hound to pass.
and out of the many who studied there emerged only Miss Daniels. Jeanette I. off. Gloria S n, John Roles. Ra
mon Novarro, and a few others who have qualified. Singing is an independent talent : it needs training, experience, and a musical sense. Hence, a girl like Janet Gaynor. for lack of these, really made herself look foolish by attempting to do musical numbers. And nobody more than Janet has wanted to quit it.
Grace Moore as Jenny Lind, in
"A Lady's Morals," is the sole
exponent of operatic arias on
the screen.
fefei
Vivienne Segal and Walter Pidgeon, in "Viennese Nights," have the advantage of singing songs that are the logical expression of a mood instead of a musical interruption.
Many of the stage singers failed just as quickly. They lacked screen personalities. Audiences resented the way they photographed. It was a pleasure to shut one's eyes on a majority of them.
However, Tibbett, Jeanette MacDonald. the lovely Marilyn Miller, Bernice Claire, and others are still under contract to the studios, which proves that good voices have a great opportunity. The majority of these have also been approved by the fa:
There have also come more recently Paul Gregory. Evelyn Lave. Continued on page 98