Evening star. [volume] (Washington, D.C.) 1854-1972, 1928-11-11
FLASHES

n
this writing to be growing
in popularity, have had one
- rather bad effect-that OF
throwing a great number OF
theater musicians from their posi-
tions. However, this is a situa-
ton which may settle itself, Some
relief may come from Synchronl-
cation; the studios are employ
ing musicians. and the recording
devices require the services OF
many. The larger theaters have
not discontinued their orcheStraS,
although sound devices are used
with the pictures. The following
letter was received this week from
the American Federation OF
Musicians:
Critics are popularity supposed
to be incisive and frequently Sar-
castle writer's whose vocation is
to perform necessary but painful
operations on the brain children
of others. We believe this con-
ception too narrow to be accurate
and that dramatic writer's, as a
rule, really feel deeply for the well
fare of the cultural arts. In other
words, that beneath a rough eX-
terror, there beats a heart of
gold That thought encourages
US to seek your cooperation in a
crisis of real significance. You
are advised. no doubt, that the
American Federation of MuSi-
clans is concerned over the threat
to substitute mechanical music
in the theaterS. Primarily, of
course. we dislike the idea that
we can be so easily dispensed
with, but further than that we
are distressed over what we
earnestly believe to be an attempt
to debaSe the art of music and to
debauch musical appreciation.
"In connection with a recently
undertaken survey Of theatrical
conditions, generally. we are try
ing to sound critical opinion on
the relative merits of real and
canned music to find if our posi-
ton is sustained. We are apply
ing to a selected few whose cul-
tural background lends weight to
their criticism, and we would
esteem it great favor if you
could find time to send us brief
answers to these questions"
Then follows a series of queries
regarding mechanical music. how
audiences react to SynChronized
films and whether real music"
seems essential to cinema pro-
grams.
In answer to these questions,
one must state that the mechan-
lied music, as it has been de-
veloped UP to the present time, no
more takes the place of real
music" than the old-fashioned
phonograph takes the place of
the symphony orchestra. It is
too early to tell just what may
take place with canned music. It
may become developed to such an
extent that it can. and will, take
the place of the theater orclleS-
tras, but the canned music of to-
day does not give entire Satisfac-
ton.
On the other hand, it must be
understood that Synchronization
is but one of the steps of the
sound pictures. The big idea be-
hind the entire scheme is the
talking pictures" picture
with dialogue. The Synchronized
film might be termed test
case; the result will be the all
talkie. Canned music will have
it's place with films similar to
THE Student Prince" but the
screen drama will have no more
music than the stage drama.
AS far as the reaction of the
public to Synchronized films il
concerned, the public seems to
have accepted them. Music writ
ten for special productions has
been an aid. The public has
made little protest against can
ned music, first attention being
paid to the picture itself. There
is a deep sympathy for the musi-
pictures will be cheaper for the
exhibitors: a half-dozen records
can take the place of a 50-piece
orchestra; what is the exhibitor
to do in the matter?
MARY PICKFORD sends word
AVA that a report is going the
rounds to the effect that she does
not intend to appear in CO.
quette," and that the report is
without foundation. Never in my
career" says Mary, have I ever
felt as much enthusiasm as 1 do
for 'Coquette,' my new picture.
Sam Taylor has just put the
finishing touches on the story and
there is more drama in it than in
the stage play. We expect to