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THE GROWTH OF SOUND 29
with what was destined to become the dawn of a new era in motion picture history. Their acknowledgment of sound pictures was a recognition that the novel device had arrived and had become an important part of the industry. In this way the best efforts of practically all of the important organizations within the industry were made available for the development of the new art. It did not take long for them to rush to completion fully equipped studios designed specially for the taking of sound motion pictures. Progress since has been extremely rapid, in the development of both studios and man power for the production of sound pictures, bringing to the motion picture the vast entertainment resources of the production brains of the industry. And it augurs well for the future of the sound motion picture that with few exceptions the initial effort of these organizations proved to be of high quality and enjoyed huge box-office receipts.
The first moving picture containing talking sequences released by this group was Alias Jimmy Valentine, with William Haines, produced by the Metro-Goldwyn-Mayer Corporation. Although Alias Jimmy Valentine had been completed in its silent version, Metro-Goldwyn-Mayer recalled the production and injected several effective talking sequences. The picture was shown at the Astor Theatre, New York, where it enjoyed a prolonged and successful engagement. To Metro-Goldwyn-Mayer likewise must go the credit for producing the first motion picture that combined colour as well as sound. This was a short subject that was released under the title of Gus Edwards' Color-Tone Revue and was shown at the FoxCarthay Circle Theatre, Los Angeles. With even greater effect, Metro-Goldwyn-Mayer used colour in their splendid production of The Broadway Melody, which contained dialogue, singing, and dancing throughout, and proved to be an exquisite entertainment. This organization clearly