Screenland (Sept 1922–Feb 1923)

The Infant Industry earns to Talk ^ The "Talking Movie" is here at last. How sound is synchronized with action on the screen is explained in this interesting article. *j Talking movies would broaden the scop-e of dramatic interpretation, insists Agnes Ayres. Lessons in voice culture would not be so great a task for an ambitious artist JL ALKING movies" are about to become an accomplished fact, after a decade or more of experimentation. Lee DeForest, of wireless and radio fame, has invented an instrument, the phonofilm, that photographs sound, cither vocal or instrumental, which snychronizes perfectly with the actions of the motion-picture actors on the screen. The phonofilm is used in conjunction with the regulation motion-picture camera. The film used is the ordinary cinema film ; the picture appears upon one side of this film and along the edges are recorded a series of lines, similar in appearance to the lines on a phonograph record. A TUBE which De Forest calls a "photion" — a glass tube with a bulbous end, is fitted inside the BellHowell camera, above the objective. This "photion" generates a powerful violet light, when electrically excited, that photographs sound as transferred through a tiny slit on the swiftly moving film. The sounds are picked up by a converter similar to a telephone microphone, but much more sensitive. This converter turns the sounds into telephonic currents, which, in turn, pass into the "audion;" from this, powerful electric currents pass into and excite the "photion." The picture may be projected upon the screen without projecting the sound also, or both may be projected simultaneously, with perfect synchronization, by making a simple connection. In DeForest's very successful demonstration in Berlin recently, the figure of a man playing the violin was flashed upon the screen; the movements of his bow were in perfect accord with the strains of music from the instrument. The sound is projected by the ordinary motion-picture projector. Turn the crank and, presto! — Al Jolson or Ethel Barrymore or Will Rogers . . . hear 'em and see 'em for 22 cents ! It is possible, the inventor declares, to photograph as many as ten different "sound paths" on a single film, making it feasible to screen grand opera. The prospect of talking movies is not entirely a pleasing one to stars and directors of the screen. The opinions of those who may be vitally affected by such an innovation differ Rupert Hughes, author, playwright, director, fears that sound is likely to work more harm than good to the industry. "A voice coming from a flat surface, even though synchronizing perfectly with the movement and muscular expression of the pictured individual ; would probably create a sense of incongruity in the minds of the audience. Sound added to the personality on the silver screen might threaten concentration," Mr. Hughes stated. "There are many long shots, cut-backs, close-ups, shooting from different angles . . . imagine trying to cut and condense the scene, meanwhile matching music. Could close-ups and long shots ever be made to harmonize with sounds to fit? Consider the terrific resonance of a mob scene." CECIL B. DeMILLE believes that talking movies have a wonderful future in the educational field, but will never supersede the silent drama. He pointed out the remarkable possibilities for reproduction of scientific experiments. For example, the showing of a major surgical operation on the screen, with the voice of the specialist explaining each move and its significance. Douglas ( Continued on Page 80) "Could close-ups and long shots ever be made to harmonize with the natural sounds to fit?" asks Rupert Hughes, author and director. "Consider the terrific resonance of a mob scene." 62