Indianapolis Times, Indianapolis, Marion County, 30 April 1940 — Page 13

TUESDAY, APRIL 30,

Joan Goes ’

Not content with dyeing her blond tresses black, Joan Bennett also appears to have acquired a Tor-rid-Zone temperament and some Latin-American dance steps for her part in “House Across the Bay,”

Loew's Friday attraction.

1940

way South of the Border

THE INDIANAPOLIS TIMES

PAGE 13

MOVIES

By JAMES THRASHER

Sound-Track Composers Come In For Some Belated Recognition

to be as unobtrusive as possible. noticed the better they are.

should come in for some belated recognition. To be sure, I might never have thought of it without a letter from the Motion Picture Producers and Distributors of America, suggesting that National Music Week (beginning Monday) offered an excellent spot for a ‘well-chosen word. Well, I am perfectly willing to take the M.P.P.D. A’s hint. For the development of “background music” has been quite as admirable as any other phase of motion picture progress. Serious music as a component part of the movies dates back 25 years to “The Birth of a Nation.”

score composed for it, of which survives today as the ubiquitous organ introduction to the Amos 'n’ Andy broadcasts. But today's integrated and ingenious original scores are also direct descendants of those gumchewing pianists who came with the shooting-gallery movie theaters, and who found “Zampa,”

HOLLYWOOD

Hays Office Meanies Ban Two CHICAGO, April 30 CU. P.). Scenes and ‘Bang!’

By PAUL HARRISON

HOLLYWOOD, April 30.—ALL OVER THE LOT: The Paramount people are sulking because the mean old Hays Office has nixed a

couple of funny sequences intended for The deletion of two laughs would be bad enough,

since Carroll

shows seldom have any to spare, but these situations also happened

to be part of the picture plot.

Most important was the act in |

which a gang of cuties clad only in corsets went down into the audience and asked male patrons to lace em up.

This is still a nightly feature of Earl's cabaret program here and is a source of great fun, hilarious embarrassment and ribaldry among the tourists. In the movie, the situation was to have served as a means for the capture of a couple of men by Brenda and Cobina, two homely oil heiresses. The other censored act begins with a& man billed as Professor Lamberti playing a Xylophone. His music always is half drowned by thunderous applause, and the delighted little man takes grateful bows and is stimulated to tremendous flourishes.

—

“A Night at Earl Carroll's.” |

What he doesn’t know is that Miss Helene Leslie, a stripteaser, has wandered on the stage and, staRding behind him, 1s thyth- | mically taking off her clothes.

» 5 5

JOHN DECKER, the able artist who caricatures celebrities by

painting their heads on the wrong |

bodies, now is doing a job on Charles Laughton, It's style of Sir William Beechey, painted the portraits of George I and other well-fed monarchs. Mr. Laughton, says Decker, will be a little girl about 10, with stocky legs, ‘precise curls, and obvious thyroid trouble. She'll be shown holding a palette and brush.

in ‘the | who |

“Poet and Peasant” and “Hearts and Flowers” sufficient unto the pioneer cinema's early emotional

Josef Pasternack | pion ls Dead at 59 TODAY, AS THEN, the silent

music. But

conductor, was dead today of a| heart attack after he had collapsed | at a radio orchestra rehearsal yesterday. Mr. Pasternack (numerous concert program series | ‘on both NBC and CBS networks. | ‘He came to this country as a young |

{man after study at the Warsaw Conservatory, and became the solo | (viola player of the Metropolitan | [Opera Orchestra. Later he con- | {ducted Sunday concerts at the { Metropolitan, and directed some of | the Ravinia summer opera produc- | tions in Chicago. He also had been [conductor of the Philadelphia Phil- | harmonic Orchestra. Mr. Pasternack is survived by his | wife and two daughters.

thereof were obvious. With the

culties were solved, but it also

had conducted |

thing else. In the past decade Hollywood has survived the adolescent period of the “theme song” and the static transcription of stage plays. Today the camera has regained and eniarged upon depict action and broad vistas

time and space. And in the process it has attracted to its pre- | cincts some of the most distinguished composers, both native and European, whose talent has been used to “strengthen and underline the emotional content” of motion pictures, as Aaron Copland has put it.

OZZIE AT WABASH

Times Special CRAWFQRDSVILLE, Ind. Apnil 30.—Ozzie Nelson and his orchestra have been engaged for the Wabash | [College Pan Hellenic dance on May 11. Harrv Haynes and his Indianapolis orchestra will play for an alicollege dance the preceding evening.

ment of film music is of vastly greater importance than the much publicized musical film... Where music has been the major ingredi-

Opening Wednesday Evening May 1

apphire Room

INDIANAPOLIS’ MOST DISTINGUISHED PLACE TO DINE AND DANCE

You ARE cordially invited to attend the opening of the Sapphire Room ~a magnificent new place to dine and dance. Surroundings of Taxarious splendor and. scintillating beauty will delight and thrill you. ¢* Nationally known bands, featured on NBC and Mutual Networks, will entertain you. The most delicious foods, rare tidbits from far and near and many exclusive gastronomic treats, will be prepared

Opening Wednesday Evening May 1

The Griffith epic had a special | a portion |

in |

movie offers the ideal medium for | | the union of dramatic action and |

J 50, P the difficulties with | Goes the Plot osef Pasternack, olish-born | S

local orchestras and the absence | coming of sound film these diffi- |

and an instantaneous conquest of |

and forward-looking |

This largely overlooked depart- |

ent of a picture, the results have

THE COMPOSER who ‘Writes incidental music for the movies is like the pianist who accompanies a recitalist.

It is the function of each | And the less their contributions are At least that is the reaction of the average soloist, movie maker and audience member. It seems no more than right, then, that the sound-track composer |

| been neither distinguished nor

particularly happy.

that 99 per cent of movie musicals have been patterned after the first “Broadway Melody” or the

tent ‘was “classical.”

musical comedy

” ” »

operatic stage have been able to pass muster as actors. Fewer of the stories have possessed &n

promisingly | the films. In attempting to imitate grand or light opera, | ‘movies have only carried over the

The chief trouble seems to be

first ‘Grace Moore picture, de- | pending upon whether their con- | or |

FEW STARS of the concert or |

ounce of credibility in the uncom- | realistic medium of |

| chief operatic faylts, lack of dra- | | matic pace and absence of dra- |

matic common sense.

Likewise some of the best talent |

Alec Templeton Returns,

has been put to the most appalling uses. A ‘horrible example | which comes first to mind was the appearance of Kirsten Flagstad in “The Big Broadcast of surely one of the worst ever made. In a nightmare hodge- | podge of vaudeville in a shipboard scene, the curtains parted on poor Mme. Flagstad, standing | stiffly in Wagnerian armor and | singing Bruennhilde's “‘Ho-jo-to-ho,” from “Die Walkuere” against a backdrop which a third- | Tate opera house would have | shuddered to own. The sexperiences of Pons, fetz, Stokowski, Paderewski, { tini, Kiepura, McCormack and Swarthout before the camera | were, while not always classics

HeiMar-

| of ineptitude, still unsuccessful in

| fitting concert artists | dramatic frame. However, the list of incidental-

into the

1938,” | pictures |

the | ® student-tetcher attraction at the World War Memorial Friday night |

Be More Human,

'No-Men' Ordered

{

| =Howard Philbrick,

| Men.”

[8 day. | sometimes as many as 18,000 times

Harry Baur and Jany Holt are concerned in “The Life and Loves of Beethoven,” French film which the Filmarte Guild will present as

at 7:30. M. Baur plays the great composer, and Mlle. Holt is seen as Giulietta ‘Guicciardi, one of the women to whom the bachelor Bee‘thoven was devoted.

A ‘Stranger’ No More ::

Alec Templeton can be assured of a quite different reception when

he returns for his second Indianapolis recital at the Murat tonight.

appeared on the Town Hall series three seasons ago. him were delighted and enthusiastic.

that Mr. wasn't received cordially when he

Those who heard But most of his hearers also were

Not Templeton

rather surprised. For at that time the young ‘blind English pianist ‘was

vaguely mind. knew Jack Hylton yond that his negligible.

his admirers in the millions. heading his own radio program, was star of 1939 in the poll of the na- | [tion's radio editors conducted by | the New York World-Telegram. |

music composers is almost as dis- |

its capacities to | tinguished as the foregoing roster

| ‘of performers.

And their contri bution has, in the main, been | moteworthy. Men like Louis Gruenberg, Virgil Thomson, Kurt | Weil, Werner Janssen, George Antheil, Arthur Honneger, Ernst | Toch, Erich Korngold and Aaron | ‘Copland have given a good deal of thought and creative sweat to the problem of musical punctuation for dramatic action. n ” » AMONG THE MOVIE VETERANS who have been doing an excellent job almost since the birth of talkies are Max. Steiner, Herbert Stothart, Alfred Newman and Dmitri Tiomkin. And fh lighter vein are the equally impressive names of Kern, Gersh- | win, Berlin, Rodgers and Romberg, to name a few. | There is little reason to doubt | that the field of “background | ‘ music” is a ‘valid ‘one, and | ‘capable of rich results. After | all one can, without much trying, think through the orchestral repertory and find some excellent examples of incidental music to the drama—exclusive of the opera or the concert overture and symphonic poem inspired by dramatic subjects. There are, for instance, Beethoven’s music for “Coriolanus” and “Egmont”; Mendelssohn’s for Midsummer Night's Dream”;

that of Sibelius to “The Tempest.” | The list could be multiplied, but these examples are enough to show that our musical enjoyment is fuller because of their existence. Besides enriching our musical literature, writing for the films can do something for the creators themselves. In the list of serious contemporary composers mens tioned above, there are some who have written upon occasion obviously to experiment in the abstract, to startle or simply to impress their colleagues,

Their work for the studios, how- |

| ‘ever, turns them into a different | and ‘more sensible path. Because of the nature of the great film audience, the composer finds he

public. That does not mean that

mean that he must, at least in

eccentric, physical. cannot possibly hurt a composer whose material and artistic existe

precocious and meta-

derstood and enjoyed and cherished by a wide audience. In return, the public can do the

some attention to music as well as words and action. Perhaps that wouldn't be a bad resolution for Music Week.

WARNER MEETING

“A | the | Grieg music to “Peer Gynt” and |

TO BE IN CAPITAL

HOLLYWOOD, April 30 (U. P). | Warner Bros. will hold its annual | . | sales convention in Washington, D. | {C., June 10-12, Gradwell 1.. Seares, |

| general sales manager, announced RIVOLI | yesterday. {

an exceptionally full concert season lof 90 performances, most of which Michael Myerberg, manager of Leohave Sponsors for appearance is the Auxiliary of the Indianapolis Orphans Home.

gram includes the Chromatic Fantasy prelude, ing,” tique” of Beethoven, inoff Prelude in E Flat Major and Debussy's dral”,; Chopin, his own: delssohn Mows provisations and Impressions, Idyll Caprice. n

anapolis for the current season. to the last of on May 4, benefit,

identified in the public Inveterate radio listeners him as a bright star of the broadcasts. But beAmerican fame was

be presented by Martha Burns, Jeanette Robbins, Bonnie Lou Oberholzer, Mari Wagner, Helen Flaig, Mary Spalding and Mary a Houk. Today Alec Templeton can coun! Now he new

Says 2 Maestros Not Competing

His recital this evening will close | NEW YORK, April 30 (U. P). -

voted the outstanding

sold-out houses. | Templeton’s local |

to Mr.

been pold Stokowski’s forthcoming tour

of South America with the all-|

| | |

|day he was glad that Arturo Tos-| canini and the NBC Symphony Or= | |chestra were planning to make a | similar tour. Mr. Stokowski's Washington, accused Mr. of trying to “cash in” kowski's idea. “Officially our organization is not in controversy with the Toscanini venture,” Mr. Myerbérg said. “Tn fact, we encourage Mr. Toscanini's trip because it will encourage interAmerican cultural exchange and it certainly will not harm Mr. Stokowski's plans to take the orchestra on the South American trip as originally planned.” Mr.

Mr. Templeton’s announced proand Fugue and the chorale“Jesu, Joy of Man's Desirby Bach; the Sonata ‘‘Pathethe Rachman-

sponsors

Toscanini and NBC “The Engulfed Cathe- on Mr! a Nocturne and Scherzo by and four compositions of Sonatina Ballade, "“MenEm Down,” Tm-

and

» »

Two events remain on the IndiMaennerchor's schedule In addition its regular concerts there will be a special

concert by the chorus and

Mr, Stokowski's wish to make a |

soloists on May 25. Both perform- more extended tour than originally |

ances will be at the Athenaeum.

cago City Opera Company, (the soloist at the regular |The benefit the first of several such events to

{planned—had produced a ‘‘tem-

porary delay.”

FATHER AND SONS

Lon Chaney Jr. and Wallace

Mark T.ove, baritone of the Chiwill be concert.

performance will be |

raise funds to defray the Maenner- Reid Jr. are both acting in Cecil

lchor’s

[Saengerfest to be held in New Or- Police.” leans next year.

expenses to the National B. De Milles “North West Mounted and Jesse L. Lasky Jr. helped write the script.

| thers all started with De Mille. Fern Carrithers Starr, contralto, ror w

” ” ”

lof Milton, Tnd., will give a song re- | lcital at 8:30 p. m. Sunday in Keép- |

"hart [Central College. tand her accompanist, Silvers, are Indiana Central grad-

Memorial Hall of Indiana | Both Mrs. Starr |

Anna Faye

Padelene CARROLL BRIAN AHERNE

HOLLYWOOD, April 30 (U. P.. a former

G-Man, today began the task ‘of humanizing Hollywood's ‘‘No-Men.” The town is famous for “YeésThey talk to movie moguls, | Not so well known are the “No= Men.” They talk to ‘movie extras. There are 7000 extra players in Hollywood and only 700 extra jobs So the “No-Men"” say “No”

a day to extras telephoning again and again for work. The ‘tele= phone company has said the ‘“No= Men's” switchboard is the nation's busiest. The “No-Men” are in the Central Casting Bureau, a co-operative office ‘maintained by ‘the studios to supply them with the hundreds of faces for mob fights, balls, street crowds—background for higher paid performers, Mr. Philbrick recently became manager of Central Casting. Today he announced he was going to take the sting out of the bureau's “No.” He began by taking down his front door. Like a ‘door to a speakeasy or the | U. S. Mint, Central Casting’s big

[locked door had a peephole with a

sliding cover to allow inspection | from within of those who dared to | knock. Central Casting's executives | could size up prospects. The slid- | ing peephole cover allowed Central Casting to determine the length of

| any conversation.

[American Youth Orchestra, said to= |

at | D. C., had previously |

Sto- |

Myerberg said, however, that | two factors—the European war and |

Their fa-| |

“Tt used to take an Act of Con- | gress to ‘pet past that door,” Mr. Philbrick said. “From now on eveffort will be made to bring the human element into the administration of the casting bureau.”

WHEN DOES IT START?

CIRCLE “Alling. the Deacon,” Burns, Mis {4 Auer, at 11 7:30 and 10:2 “Angel row Texas,” pert. Rosemary Lane, 30, 6:20 and 9.15

NDIANA “Tin We Meet Aghin,” Oberon. George Brent ®t ine 3:41. 6:51 and 10:0 yon hk b. ae Lumber ici, with avne 0r'ja CKsor t 2:43. 5:58 nid 9:03 h S

with Bob 1:50, 4:40,

with Eddie at 12:40,

with Merle Pat 2 Brien,

LOEW'S Sah, My Son, Aherie, Mudeleite Carroll, Hayward, at 11, 2:35 6:15 and 9:50, ‘Over the Mooh. " ‘with Merle Obaroh, Rex Harrison, at 1, 4:40 and 8:15. LYRIC Jah ‘Garber and his orchestra, Ser ue On stage at 1, 3:45, "Bl ba issouri,” ‘with the Weaver Bros and Elviry on Roach at 11:25, 2:19, 5:18, 7:57 ‘and 10:3

~My " with Brian

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at the World War Memorial auditorium tonight at 8:30 o'clock.

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