Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
SEPTEMBER 16, 1922
45
Your Feet Won't Keep Still When You Hear—
SILVERSURS"
Percy WenricW s New Fox Trot Hi t—Hear It Once -Remember It Always
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campaign which received the co-operation of
every factor in the motion picture industry, in-
cluding the demonstration of the song by talk-
ing machines in most of the theatre lobbies, re-
sulted in its achieving a tremendous success.
No campaign before or up to the time of
"Smilin' Through" had ever received such co-
operation.
"Hearts of the World," owing to the fact that
it was a Griffith production, did what might be
termed splendidly, but nothing- in comparison
with the above.
In the case of "Smilin' Through" this song
was the basis of a drama of the same name and
later had a motion picture version. Naturally,
inasmuch as "Smilin' Through" was the basis
or foundation of the show, it received unusual
attention in planning the film. The result was
that "Smilin' Through" was not only the name
of a picture, the theme of a story, but the song
became also the theme of the music that was
rendered in conjunction. The thematic of much
of the number was at various intervals during
the showing of the picture thrown upon the
screen, and in this particular case a song was
nationally exploited. But the point to bear in
mind is that it was the song that made the pic-
ture. There can be no doubt about it in this
particular case.
"Smilin' Through" established a record for
the sale of songs at thirty cents, exploited
through the aid of the motion picture. Nothing
nearly equaled it outside of the case of
"Mickey," referred to above.
Reverting back to the "Mickey" situation, it
must be borne in mind that publishers saw the
value of exploiting songs in conjunction with
the exhibition of motion pictures. Some of
them even went so far as to create, at that par-
ticular time, speciat departments in order to
aid the motion picture producer.
The motion picture producers, however, .did
not wholly grasp the value of such co-operation.
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They, from a publicity angle, gave encourage-
ment to the creation of songs bearing the titles
of their productions. They loaned their aid in
many ways, it is true, such as co-operating by
giving the use of photographs and other mate-
rial for title pages, but when it came to expendi-
tures upon their own part, or even adding any
energy to the final completion of the exploita-
tion campaign, they failed to contribute. The
result was that the music publisher lost interest
in motion pictures.
With the success of "Smilin' Through" there
is a renewed interest in the exploitation of
songs with motion pictures on the part of the
publishers. Unless the motion picture producer
and exhibitor show unusual co-operation the
majority of these campaigns will fail, with the
exception where the number is so meritorious as
to be a success without the aid of such publicity.
In order to substantiate the conclusions
reached in this article it should be mentioned
that D. W. Griffith, the greatest of all pro-
ducers, plans his exhibitions with great care as
to the accompanying music. He has on his staff
composers and arrangers who are charged to
make the musical theme not only appropriate,
but to add to the visionary effects.
The Loew theatres, which are among the
largest purchasers of motion picture produc-
tions, also have a head musical director, who
arranges the musical programs for the various
Loew theatres. This gentleman has a very large
staff and seeks the aid of a number of his com-
poser friends and the music publishers involved
in the planning of musical numbers to go with
special pictures..
Music, then, is the superior part of motion
picture programs. It will not be acknowledged
by exhibitors or producers, but the elimination
of music proves it a fact. Personally, the aver-
age motion picture would hardly hold our in-
terest for more than two minutes and a half
without the aid of music.
The Bi£ Waltz Ballad
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NEW T1NNEY SHOW
Hammerstein Produces New Musical
Featuring Frank Tinney
Show
Arthur Hammerstein presented Frank Tinney
in a new production recently in New York,
which bids fair to run throughout the early Fall
season. It is called "Daffy Dill." ' The book is
by Guy Bolton and Oscar Hammerstein, 2nd;
the lyrics are by Oscar Hammerstein, 2nd, and
Herbert Stothart is responsible for the music.
Frank Tinney, of course, is the featured co-
median of the attraction and his usual and
original comedy lines go over to the pleasure
of the audience and seemingly assure success
to the show for a long period of months.
Of importance are the musical numbers, "Two
Little Ruby Rings" and "I'll Build a Bungalow."
Other songs include "Can't Lose Me," "My Boy
Friend," "Tartar" and "One Flower That
Bloomed for You." Harms, Inc., publishes
these numbers.
HARMS PUBLISHING THE SCORE
Music of "The Gingham Girl" Proving Very
Popular
Schwab & Kussell are the producers of the
new musical comedy entitled "The Gingham
Girl," the lyrics of which are by Neville Fleeson
and the music by Albert Von Tilzer, both of
whom have been contributors to musical suc-
cesses in the past. The outstanding songs are
"Just as Long as You Have Me" and "Tell Her
While the Waltz Is Playing," both of which,
undoubtedly, will be prominent during the Fall
season. Other numbers in the score are "Busi-
ness Is Bad," "Forty-second Street Strut,"
"Playing," "The Twinkle in Your Eye" and
"Love and Kisses." Harms, Inc., is the pub-
lisher of these numbers.