Evening Republican, Volume 22, Number 53, Rensselaer, Jasper County, 4 March 1919 — “HEARTS OF THE WORLD” [ARTICLE]

“HEARTS OF THE WORLD”

David Wark Griffith, producer of “Hearts of the World,” which Comes to the Princess Monday, March 10, is the acknowledged wizard of motion piictures and "there are few who do not know his ability in this line. But there are few who know that Griffith is as keen a judge and as great an arranger of music as he is of the, scenes and staging of a drama. Just how much of the effectiveness of motion pictures is due to the impressions received by the ear as well as the eye is ah interesting study. In the better class motion picture houses music plays as important a part of the programme as the picture itself. It matters rogt whether the accompaniment be pipe organ or piano-forte, the music enhances the enjoyment of the pictures, and the mere ability displayed by the players the more the enjoyment of the performance as a whole. D. W. Griffith never alldws a strain of music to accompany one of his subjects, it is said, unless it has received his attention and 'has been sanctioned by his artist ear. Selecting the music for such, a production as “The Birth of a Nation” or “Hearts of the World” : is a task, requiring weeks and sometimes even a month or more if the score does not prove immediately adaptable to the subject of the picture. "“Hearts of the World” has unusually ambitious orchestral accompaniment, and the score is a beautiful

woof of patriotic straamb—selectionsfrom grand opera and bits of symphonies. Two major themes, “Connas tu le pays,” from Mignon, and a popular musical comedy number cfell* ed “It’s Delightful to be Married,” sung by Anna Held several yeprs ago, are used most effectively' m “Hearts of the World,’! just aa£riffith used “The Year of the Jubilee’ in “The Birth of a Natron” and “My Irish Rose” in “Intolerance.” 'Somfi idea of the scope of his calling for “Hearts of the World” may be gathered from a brief mention of the various and sundry fragments which Griffith and his orchestra leader, Carli D. Elinor, have provided for the interpretation and enjoyment of the/picture. From grand opera was gleaned selections from “Lohengrin, “La Tosea,” “La Fanciulla” and “PuccinS.” The Chopin nocturnes are' used but little, but “The Light Cavalry,” the “Marseillaise,” “The Star Spangled Banner,” “America” and other patriotic airs play a splendid part in the showing of the great battle scenes, which were photographed by Griffith during an eighteen months’ stay in France under the auspice-3 of the British government, which commissioned Griffith to secure pictures which would be of a character worthy of preservation in their archives.