By David Mendoza (1929)
Since the advent of sound pictures, the theme song has become one of the integral factors- one might almost say the key factor- about which a photoplay score is constructed.
While in some cases the musical setting of a picture is developed in advance of actual production, especially with those films which, like The Broadway Melody, have original numbers interwoven with and sung as a part of the story, nevertheless in the majority of recent pictures the scoring has been a separate task.
The unusual facilities of the Capitol Theatre musical library, now transported to the Metro-Goldwyn-Mayer New York studio, have been of great aid in the preparation of musical scores for new productions. Major Edward Bowes, managing editor of the Capitol Theatre and recently in joint charge with Louis K. Sidney of the M-G-M Eastern studio, has made a specialty of a finely equipped reference library.
Most of the silent films made in Hollywood are sent East for synchronization. Our product is handled at the uptown sound studio, where one of the large sound-proof stages is devoted entirely to work of its kind.
William Axt, with whom I did the Broadway scores for The Big Parade, Ben Hur and other pictures, has collaborated with me on virtually all the synchronizations, worked out at the New York studio. Our first step is to preview the picture, thus getting an accurate idea of the mood, atmosphere and general type of music required for the film. In all probability this first showing will also suggest a theme number, which we will work out together.
Directly after the preview of the picture we plot out a cue sheet, comprising definite suggestions about pieces that seem to fit into the schemes of the orchestrations. The musical library is next visited. The filing cabinets here classify practically all existing music- sacred, profane, old-fashioned and jazz. One classification tabulates all music according to composers: Bach, Beethoven, Irving Berlin, and so on. Another lists everything according to mood: joy, anger, sorrow, and the like. Another gives the style of the music (waltzes, lullabys, fox trots) while still another grouping indicates what music is humorous, nautical, religious or inspirational. There are still other files, including one arranging all music nationally. In each listing one can find the score both for orchestra and for piano.
Some orchestrations are made up largely of original music or original "blendings" composed by Mr. Axt or myself. Other scores consist almost entirely of carefully interwoven excerpts from various existing music. The cue sheet always explains just what music, of course, is the vital factor for perfect synchronization.
Several recordings, i.e., from two to ten, are required for each reel of a film that is being synchronized. Once in a long while an orchestra may get every note and sound across perfectly the first time; not a single discordant murmur is audible to the check-up man listening intently in the monitor room adjoining the sound-proof stage. But even then a second "canning" is advisable, More frequently the number of recordings runs to four, five or six.
The synchronization of a picture is, needless to say, a far more delicate job than the ordinary orchestral accompaniment, because in the sound-proof room the tiniest error is caught up and magnified. A rustling of a garment may necessitate the rerecording of an entire reel, and a cough or sneeze is fatal. If a trombonist is half a note off key, if a violin squeaks, or a musician taps on the floor with his shoe, the supervigilant microphones are sure to include this noise with the music.
Such sound effects as the noise of a steam boiler, the blowout of an automobile tire, or the clanging of a siren are worked in as part of the score, along with the music. This process is suitable only for the score-sound effects type of picture, and not for the all-dialogue or all-singing production.
The theme song of a picture not only establishes a mood, and often popularizes a title, but has added substantially to the music business.
All songs written for the new films- and this means a dozen or more weekly- are circulated on a wide scale and often attain tremendous popularity. Two of the numbers from "The Broadway Melody" are ranked near the top, I believe, of the present crop of musical best-sellers.
The average motion picture that is synchronized requires the blending together of between a hundred and a hundred and fifty different musical numbers. In Our Dancing Daughters, a recent release, there were 135 separate musical numbers, 90 of which were original pieces of composition.
It is the theory of Major Bowes that the ideal score should resemble an opera. Each line should be as highly individualized as possible, fitted to the changing atmospheric background of the film. The problem is how to obtain the best score after the picture has been completed; of course it is manifestly impractical to prepare a score for 100,000 feet of "working film" and later cut this to 8,000 feet.
I believe that the future of sound and dialogue pictures, as well as of theme songs, will depend in large measure on the amount of taste and discretion used in adapting ourselves to new demands of production. There may be cheapness or artistry, haste or careful selectivity. Vocal sequences in a sound score are good, I feel, if done with restraint and with judgment; otherwise they may materially damage a photoplay. Sound effects interspersed with a film lend realism and human interest; on the other hand, there are many sounds that would be distinctly out of place. It is up to the supervisors of the musical score to exercise a sense of balance.
One of the interesting factors in the recording of sound effects results from the counterfeiting of sounds. Certain noises, such as the firing of a bullet, will not reproduce on the screen unless a camouflage sound is used. We had to hunt about until we found a way to make a noise that sounded, paradoxically, more like a bullet than the bullet itself.
No one can prophesy the future of sound pictures with any degree of certainty. From a musician's point of view, it seems to me that the addition of sound has been a great constructive step in bringing the best Broadway theatre orchestras to the smaller community. Every picture will have the best possible score, not merely a slapdash accompaniment used alike for comedy, tragedy, or melodrama. Sound effects lend an air of authenticity and realism to hundreds of situations. Talking pictures have attracted much favorable and much adverse comment and must work out their own destiny. Technical perfection in recording is very near, and one must remember the far greater scope and popular appeal of such films as contrasted to the theatre. But we are past the point where they can hope to succeed through novelty alone.
The quality dialogue picture must be judged by exactly the same standards as the silent film or the stage play.
Photo captions:
Dr. William Axt is a musician and composer of note, having conducted at the Manhattan Opera House, under the regime of Oscar Hammerstein, as well as for some of the more stupendous productions directed by Morris Gest. He assists Mendoza.
David Mendoza whose talent as conductor makes musical presentation at the Capitol Theatre, New York, rank high. The music library of the Capitol Theatre has been transported to the Metro-Goldwyn-Mayer studios for useful reference.
Original article by David Mendoza, 1929.
David Mendoza, "The Theme Song," American Hebrew, March 15, 1929, page 124.
© 1997, David Pierce, on editing and revisions (if any)
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