Sound motion pictures : from the laboratory to their presentation (1929)

294 SOUND MOTION PICTURES well known that stage appeal may be aided by such accompaniment. This is reminiscent of the method used in days gone by on the legitimate stage, and more recently with equal effectiveness in dramatic readings on the radio. Such music must be introduced in a volume that will not drown out any of the spoken words, and if properly handled will help to stimulate the imagination of the audience. An important by-product of the dialogue picture has been the introduction of the so-called theme songs. The theme song idea was used previously in the presentation of silent motion pictures. We recall, for instance, the very successful introduction of the song Mickey some years back, which was featured in a motion picture in which Mabel Normand appeared. During the current year of 1929 the industry has generally recognized the importance of the theme song, as a source both of profit and of exploitation, and song writers such as Irving Berlin, DeSylva, Brown and Henderson, Jack Yellen, and others of equal importance have contributed their talents to the writing of such airs. Some of the most successful popular songs of the year have been theme songs introduced in connection with motion pictures: namely, "I Dream of You, Jeanine," from Colleen Moore's production Lilac Time, " Sally of My Dreams," from the Fox production Mother Knows Best; "Sonny Boy," from The Singing Fool; "Angela Mia," from Street Angel, Frank Borzage's production for Fox Film Corporation; and Metro-Goldwyn-Mayer's The Broadway Melody, with the theme song of the same name, which also introduced the very popular "Wedding of the Painted Doll." These airs have not only been considered among the best sellers, but have been of immeasurable value in exploiting the motion pictures which called them into existence. The reader may therefore see how thoroughly, and in