Talkies | Silent Films Wiki | Fandom powered by Wikia
File:DicksonExpSoundFilm.jpg
The idea of combining motion pictures with recorded sound is nearly as old as the concept of cinema itself. On February 27 , 1888 , a couple of days after photographic pioneer Eadweard Muybridge gave a lecture not far from the laboratory of Thomas Edison , the two inventors privately met. Muybridge later claimed that on this occasion, six years before the first commercial motion picture exhibition, he proposed a scheme for sound cinema that would combine his image-casting zoopraxiscope with Edison's recorded-sound technology. [1] No agreement was reached, but within a year Edison commissioned the development of the Kinetoscope , essentially a "peep-show" system, as a visual complement to his cylinder phonograph . The two devices were brought together as the Kinetophone in 1895, but individual, cabinet viewing of motion pictures was soon to be outmoded by successes in film projection. [2] In 1899, a projected sound-film system known as Cinemacrophonograph or Phonorama, based primarily on the work of Swiss-born inventor François Dussaud, was exhibited in Paris; similar to the Kinetophone, the system required individual use of earphones. [3] An improved cylinder-based system, Phono-Cinéma-Théâtre, was developed by Clément-Maurice Gratioulet and Henri Lioret of France, allowing short films of theater, opera, and ballet excerpts to be presented at the Paris Exposition in 1900. These appear to be the first publicly exhibited films with projection of both image and recorded sound.
Three major problems persisted, leading to motion pictures and sound recording largely taking separate paths for a generation:
Synchronization – The pictures and sound were recorded and played back by separate devices, which were difficult to start and maintain in synchronization. [4]
Playback volume – While motion picture projectors soon allowed film to be shown to large theater audiences, audio technology before the development of electric amplification could not project to satisfactorily fill large spaces.
Recording fidelity – The primitive systems of the era produced sound of very low quality unless the performers were stationed directly in front of the cumbersome recording devices (acoustical horns, for the most part), imposing severe limits on the sort of films that could be created with live-recorded sound.
File:DeForestScreenShot.jpg
Advanced sound-on-film – In 1919, American inventor Lee De Forest was awarded several patents that would lead to the first sound-on-film technology with commercial application. In De Forest's system, the sound track was photographically recorded on to the side of the strip of motion picture film to create a composite, or "married," print. If proper synchronization of sound and picture was achieved in recording, it could be absolutely counted on in playback. Over the next four years, he improved his system with the help of equipment and patents licensed from another American inventor in the field, Theodore Case . [10]
At the University of Illinois , Polish-born research engineer Joseph Tykociński-Tykociner was working independently on a similar process. On June 9 , 1922 , he gave the first reported U.S. demonstration of a sound-on-film motion picture to members of the American Institute of Electrical Engineers . [11] As with Lauste and Tigerstedt, Tykociner's system would never be taken advantage of commercially; De Forest's, however, soon would.
On April 15 , 1923 , at New York City's Rivoli Theater, came the first commercial screening of motion pictures with sound-on-film, the future standard: a set of shorts under the banner of De Forest Phonofilms , accompanying a silent feature. [12] That June, De Forest entered into an extended legal battle with an employee, Freeman Harrison Owens , for title to one of the crucial Phonofilm patents. Although De Forest ultimately won the case in the courts, Owens is today recognized as a central innovator in the field. The following year, De Forest's studio released the first commercial dramatic film shot as a talking picture—the two-reeler Love's Old Sweet Song, directed by J. Searle Dawley and featuring Una Merkel . [13] Phonofilms' stock in trade, however, was not original dramas but celebrity documentaries, popular music acts, and comedy performances. President Calvin Coolidge , opera singer Abbie Mitchell , and vaudeville stars such as Phil Baker , Ben Bernie , Eddie Cantor , and Oscar Levant appeared in the firm's pictures. Hollywood remained suspicious, even fearful, of the new technology. As Photoplay editor James Quirk put it in March 1924, "Talking pictures are perfected, says Dr. Lee De Forest. So is castor oil." [14] De Forest's process continued to be used through 1927 in the United States for dozens of short Phonofilms; in the UK it was employed a few years longer for both shorts and features by British Sound Film Productions, a subsidiary of British Talking Pictures, which purchased the primary Phonofilm assets. By the end of 1930, the Phonofilm business would be liquidated. [15]
In Europe, others were also working on the development of sound-on-film. In 1919, the same year that DeForest received his first patents in the field, three German inventors patented the Tri-Ergon sound system. On September 17 , 1922 , the Tri-Ergon group gave a public screening of sound-on-film productions—including a dramatic talkie, Der Brandstifter (The Arsonist)—before an invited audience at the Alhambra Kino in Berlin. By the end of the decade, Tri-Ergon would be the dominant European sound system. In 1923, two Danish engineers, Axel Petersen and Arnold Poulsen, patented a system in which sound was recorded on a separate filmstrip running parallel with the image reel. Gaumont would license and briefly put the technology to commercial use under the name Cinéphone. [16]
It was domestic competition, however, that would lead to Phonofilms' eclipse. By September 1925, De Forest and Case's working arrangement had fallen through. The following July, Case joined with Fox Film , Hollywood's third largest studio , to found the Fox-Case Corporation. The system developed by Case and his assistant, Earl Sponable, given the name Movietone , thus became the first viable sound-on-film technology controlled by a Hollywood movie studio. The following year, Fox purchased the North American rights to the Tri-Ergon system, though the company found it inferior to Movietone and virtually impossible to integrate the two different systems to advantage. [17] In 1927, as well, Fox retained the services of Freeman Owens, who had particular expertise in constructing cameras for synch-sound film. [18]
Advanced sound-on-disc – Parallel with improvements in sound-on-film technology, a number of companies were making progress with systems in which movie sound was recorded onto phonograph discs. In sound-on-disc technology from the era, a phonograph turntable is connected by a mechanical interlock to a specially modified film projector , allowing for synchronization. In 1921, the Photokinema sound-on-disc system developed by Orlando Kellum was employed to add synchronized sound sequences to D. W. Griffith 's failed silent film Dream Street. A love song, performed by star Ralph Graves, was recorded, as was a sequence of live vocal effects. Apparently, dialogue scenes were also recorded, but the results were unsatisfactory and the film was never publicly screened incorporating them. On May 1 , 1921 , Dream Street was rereleased, with love song added, at New York City's Town Hall theater, qualifying it—however haphazardly—as the first feature-length film with a live-recorded vocal sequence. [19] There would be no others for more than six years.
File:DonJuanPoster2.jpg
In 1925, Warner Bros. , then a small Hollywood studio with big ambitions, began experimenting with sound-on-disc systems at New York's Vitagraph Studios , which it had recently purchased. The Warner Bros. technology, named Vitaphone , was publicly introduced on August 6 , 1926 , with the premiere of the nearly three-hour-long Don Juan ; the first feature-length movie to employ a synchronized sound system of any type throughout, its soundtrack contained a musical score and sound effects , but no recorded dialogue—in other words, it had been staged and shot as a silent film. Accompanying Don Juan, however, were eight shorts of musical performances, mostly classical, as well as a four-minute filmed introduction by Will H. Hays , president of the Motion Picture Association of America , all with live-recorded sound. These were the first true sound films exhibited by a Hollywood studio. [20] Don Juan would not go into general release until February of the following year, making the technically similar The Better 'Ole, put out by Warner Bros. in October 1926, the first feature film with synchronized playback throughout to show to a broad audience.
Sound-on-film would ultimately win out over sound-on-disc because of a number of fundamental technical advantages:
Synchronization: no interlock system was completely reliable, and sound could fall out of synch due to disc skipping or minute changes in film speed, requiring constant supervision and frequent manual adjustment
Editing: discs could not be directly edited, severely limiting the ability to make alterations in their accompanying films after the original release cut
Distribution: phonograph discs added extra expense and complication to film distribution
Wear and tear: the physical process of playing the discs degraded them, requiring their replacement after approximately twenty screenings
Nonetheless, in the early years, sound-on-disc had the edge over sound-on-film in two substantial ways:
Production and capital cost: it was generally less expensive to record sound onto disc than onto film and the central exhibition systems—turntable/interlock/projector—were cheaper to manufacture than the complex image-and-audio-pattern-reading projectors required by sound-on-film
Audio quality: phonograph discs, Vitaphone's in particular, had superior dynamic range to most sound-on-film processes of the day, at least during the first few playings—while sound-on-film tended to have better frequency response , this was outweighed by greater distortion and noise
As sound-on-film technology improved, both of these disadvantages were overcome.
The third crucial set of innovations marked a major step forward in both the live recording of sound and its effective playback:
File:VitaphoneDemo.jpg
Fidelity electronic recording and amplification – Beginning in 1922, the research branch of AT&T 's Western Electric manufacturing division began working intensively on recording technology for both sound-on-disc and sound-on film. In 1925, the company publicly introduced a greatly improved system of electronic audio, including sensitive condenser microphones and rubber-line recorders. That May, the company licensed entrepreneur Walter J. Rich to exploit the system for commercial motion pictures; he founded Vitagraph, which Warner Bros. acquired a half interest in just one month later. In April 1926, Warners signed a contract with AT&T for exclusive use of its film sound technology for the redubbed Vitaphone operation, leading to the production of Don Juan and its accompanying shorts over the following months. During the period when Vitaphone had exclusive access to the patents, the fidelity of recordings made for Warners films was markedly superior to those made for the company's sound-on-film competitors. Meanwhile, Bell Labs —the new name for the AT&T research operation—was working at a furious pace on sophisticated sound amplification technology that would allow recordings to be played back over loudspeakers at theater-filling volume. The new moving-coil speaker system was installed in New York's Warners Theatre at the end of July and its patent submission, for what Western Electric called the No. 555 Receiver, was filed on August 4 , just two days before the premiere of Don Juan. [21]
Late in the year, AT&T/Western Electric created a licensing division, Electrical Research Products Inc. (ERPI), to handle rights to the company's film-related audio technology. Vitaphone still had legal exclusivity, but having lapsed in its royalty payments, effective control of the rights was in ERPI's hands. On December 31 , 1926 , Warners granted Fox-Case a sublicense for the use of the Western Electric system in exchange for a share of revenues that would go directly to ERPI. [22] The patents of all three concerns were cross-licensed. Superior recording and amplification technology was now available to two Hollywood studios, pursuing two very different methods of sound reproduction. The new year would finally see the emergence of sound cinema as a significant commercial medium.
Triumph of the "talkies"
Edit
In February 1927, an agreement was signed by five leading Hollywood movie companies: the so-called Big Two— Paramount and MGM —a pair of studios in the next rank— Universal and the fading First National —and Cecil B. DeMille 's small but prestigious Producers Distributing Corporation (PDC). The five studios agreed to collectively select just one provider for sound conversion. The alliance then sat back and waited to see what sort of results the forerunners came up with. In May, Warner Bros. sold back its exclusivity rights to ERPI (along with the Fox-Case sublicense) and signed a new royalty contract similar to Fox's for use of Western Electric technology. As Fox and Warners pressed forward with sound cinema in different directions, both technologically and commercially—Fox with newsreels and then scored dramas, Warners with talking features—so did ERPI, which sought to corner the market by signing up the five allied studios.
File:JazzSingerAndFox.jpg
The big sound film sensations of the year all took advantage of pre-existing celebrity. On May 20 , 1927 , at New York's Roxy Theater , Fox Movietone presented a sound film of the takeoff of Charles Lindbergh 's celebrated flight to Paris, recorded earlier that day. In June, a Fox sound newsreel depicting his return welcomes in New York and Washington, D.C., was shown. These were the two most acclaimed sound motion pictures to date. [23] In May, as well, Fox had released the first Hollywood fiction film with synchronized dialogue: the short They're Coming to Get Me, starring comedian Chic Sale . [24] After rereleasing a few silent feature hits, such as Seventh Heaven , with recorded music, Fox came out with its first original Movietone feature on September 23 : Sunrise , by acclaimed German director F. W. Murnau . As with Don Juan, the film's soundtrack was comprised of a musical score and sound effects (including, in a couple of crowd scenes, "wild", nonspecific vocals). Then, on October 6 , 1927 , Warner Bros.' The Jazz Singer premiered. It was a smash box office success for the mid-level studio, earning a total of $2.625 million in the U.S. and abroad, almost a million dollars more than the previous record for a Warners film. [25] Produced with the Vitaphone system, most of the film does not contain live-recorded audio, relying, like Sunrise and Don Juan, on a score and effects. When the movie's star, Al Jolson , sings, however, the film shifts to sound recorded on the set, including both his musical performances and two scenes with ad-libbed speech—one of Jolson's character, Jakie Rabinowitz (Jack Robin), addressing a cabaret audience; the other an exchange between him and his mother. Though the success of The Jazz Singer was due largely to Jolson, already established as one of America's biggest music stars, and its limited use of synchronized sound hardly qualified it as an innovative sound film (let alone the "first"), the movie's handsome profits were proof enough to the industry that the technology was worth investing in.
The development of commercial sound cinema had proceeded in fits and starts before The Jazz Singer, and the film's success did not change things overnight. Not till May 1928 did the group of four big studios (PDC had dropped out of the alliance), along with United Artists and others, sign with ERPI for conversion of production facilities and theaters for sound film. Initially, all ERPI-wired theaters were made Vitaphone-compatible; most were equipped to project Movietone reels as well. [26] Even with access to both technologies, however, most of the Hollywood companies remained slow to produce talking features of their own. No studio beside Warner Bros. released even a part-talking feature until the low-budget-oriented Film Booking Offices of America (FBO) premiered The Perfect Crime on June 17 , 1928 , eight months after The Jazz Singer. [27] FBO had come under the effective control of a Western Electric competitor, General Electric 's RCA division, which was looking to market its new sound-on-film system, Photophone . Unlike Fox-Case's Movietone and De Forest's Phonofilm, which were variable-density systems, Photophone was a variable-area system—a refinement in the way the audio signal was inscribed on film that would ultimately become the rule. (In both sorts of system, a specially designed lamp, whose exposure to the film is determined by the audio input, is used to record sound photographically as a series of minuscule lines. In a variable-density process, the lines are of varying darkness; in a variable-area process, the lines are of varying width.) By October, the FBO-RCA alliance would lead to the creation of Hollywood's newest major studio, RKO Pictures .
File:BarkerMackaillSills.jpg
Meanwhile, Warner Bros. had released three more talkies in the spring, all profitable, if not at the level of the The Jazz Singer: In March, The Tenderloin appeared; it was billed by Warners as the first feature in which characters spoke their parts, though only 15 of its 88 minutes had dialogue. Glorious Betsy followed in April, and The Lion and the Mouse (31 minutes of dialogue) in May. [28] On July 6 , 1928 , the first all-talking feature, Lights of New York , premiered. The film cost Warner Bros. only $23,000 to produce, but grossed $1.252 million, a record rate of return surpassing 5,000%. In September, the studio released another Al Jolson part-talking picture, The Singing Fool , which more than doubled The Jazz Singer's earnings record for a Warners movie. [29] This second Jolson screen smash demonstrated the movie musical's ability to turn a song into a national hit: by the following summer, the Jolson number "Sonny Boy" had racked up 2 million record and 1.25 million sheet music sales. [30] September 1928 also saw the release of Paul Terry 's Dinner Time , among the first animated cartoons produced with synchronized sound. After seeing it, Walt Disney decided to make one of his Mickey Mouse shorts , Steamboat Willie , with sound as well.
Over the course of 1928, as Warner Bros. began to rake in huge profits due to the popularity of its sound films, the other studios quickened the pace of their conversion to the new technology. Paramount, the industry leader, put out its first talkie in late September, Beggars of Life; though it had just a few lines of dialogue, it demonstrated the studio's recognition of the new medium's power. Interference, Paramount's first all-talker, debuted in November. The process known as "goat glanding" briefly became widespread: soundtracks, sometimes including a smatter of post-dubbed dialogue or song, were added to movies that had been shot, and in some cases released, as silents. [31] A few minutes of singing could qualify such a newly endowed film as a "musical." (Griffith's Dream Street had essentially been a "goat gland.") Expectations swiftly changed, and the sound "fad" of 1927 became standard procedure by 1929. In February 1929, sixteen months after The Jazz Singer's debut, Columbia Pictures became the last of the eight studios that would be known as " majors " during Hollywood's Golden Age to release its first part-talking feature, Lone Wolf's Daughter. [32] Most American movie theaters, especially outside of urban areas, were still not equipped for sound and the studios were not entirely convinced of the talkies' universal appeal—through mid-1930, the majority of Hollywood movies were produced in dual versions, silent as well as talking. [33] Though few in the industry predicted it, silent film as a viable commercial medium in the United States would soon be little more than a memory. The final mainstream purely silent feature put out by a major Hollywood studio was the Hoot Gibson oater Points West, released by Universal Pictures in August 1929. [34] One month earlier, the first all-color, all-talking feature had gone into general release: Warner Bros.' On with the Show!
The transition: Europe
File:DietrichIKIHM.jpg
The Jazz Singer had its European sound premiere at the Piccadilly Theatre in London on September 27 , 1928 . [35] According to film historian Rachael Low, "Many in the industry realized at once that a change to sound production was inevitable." [36] On January 16 , 1929 , the first European feature film with a synchronized vocal performance and recorded score premiered: the German production Ich küsse Ihre Hand, Madame (I Kiss Your Hand, Madame). [37] A dialogueless film that contains only a few minutes of singing by star Richard Tauber , it may be thought of as the Old World's combination Dream Street and Don Juan. The movie was made with the sound-on-film system controlled by the German-Dutch firm Tobis, corporate heirs to the Tri-Ergon concern. With an eye toward commanding the emerging European market for sound film, Tobis entered into a compact with its chief competitor, Klangfilm, a subsidiary of Allgemeine Elektrizitäts Gesellschaft (AEG). Early in 1929, the two businesses began comarketing their recording and playback technologies. As ERPI began to wire theaters around Europe, Tobis-Klangfilm claimed that the Western Electric system infringed on the Tri-Ergon patents, stalling the introduction of American technology in many places. Just as RCA had entered the movie business to maximize the value of its recording system, Tobis also established its own production houses, led by Germany's Tobis Filmkunst.
File:BlackmailStill.jpg
Over the course of 1929, most of the major European filmmaking countries began joining Hollywood in the changeover to sound. Many of the trend-setting European talkies were shot abroad as production companies leased studios while their own were being converted or as they deliberately targeted markets speaking different languages. One of Europe's first two feature-length dramatic talkies was created in still a different sort of twist on multinational moviemaking: The Crimson Circle was a coproduction between director Friedrich Zelnik's Efzet-Film company and British Sound Film Productions (BSFP). In 1928, the film had been released as the silent Der Rote Kreis in Germany, where it was shot; English dialogue was apparently dubbed in much later using the De Forest Phonofilm process controlled by BSFP's corporate parent. It was given a British trade screening in March 1929, as was a part-talking film made entirely in the UK: The Clue of the New Pin, a British Lion production using the sound-on-disc British Photophone system. In May, Black Waters, a British and Dominions Film Corporation promoted as the first UK all-talker, received its initial trade screening; it had been shot completely in Hollywood with a Western Electric sound-on-film system. None of these pictures made much impact. [38] The first successful European dramatic talkie was the all-British Blackmail . Directed by twenty-nine-year-old Alfred Hitchcock , the movie had its London debut June 21 , 1929 . Originally shot as a silent, Blackmail was restaged to include dialogue sequences, along with a score and sound effects, before its premiere. A British International Pictures (BIP) production, it was recorded on RCA Photophone, General Electric having bought a share of AEG in order to gain access to the Tobis-Klangfilm markets. Blackmail was a substantial hit; critical response was also positive—notorious curmudgeon Hugh Castle, for example, called it "perhaps the most intelligent mixture of sound and silence we have yet seen." [39]
On August 23 , the modest-sized Austrian film industry came out with a talkie: G’schichten aus der Steiermark (Stories from Styria), an Eagle Film–Ottoton Film production. [40] On September 30 , the first entirely German-made feature-length dramatic talkie, Das Land ohne Frauen (Land Without Women), premiered. A Tobis Filmkunst production, about one-quarter of the movie contained dialogue, which was strictly segregated from the special effects and music. The response was underwhelming. [41] Sweden's first talkie, Konstgjorda Svensson (Artificial Svensson), premiered on October 14 . Eight days later, Aubert Franco-Film came out with Le Collier de la reine (The Queen's Necklace), shot at the Epinay studio near Paris. Conceived as a silent film, it was given a Tobis-recorded score and a single talking sequence—the first dialogue scene in a French feature. On October 31 , Les Trois masques debuted; a Pathé -Natan film, it is generally regarded as the initial French feature talkie, though it was shot, like Blackmail, at the Elstree studio , just outside of London. The production company had contracted with RCA Photophone and Britain then had the nearest facility with the system. The Braunberger-Richebé talkie La Route est belle, also shot at Elstree, followed a few weeks later. [42] Before the Paris studios were fully sound-equipped—a process that stretched well into 1930—a number of other early French talkies were shot in Germany. [43] The first all-talking German feature, Atlantik, had premiered in Berlin on October 28 . Yet another Elstree-made movie, it was rather less German at heart than Les Trois masques and La Route est belle were French; a BIP production with a British scenarist and German director, it was also shot in English as Atlantic. [44] The entirely German Aafa-Film production Dich hab ich geliebt (Because I Loved You) opened three-and-a-half weeks later. It was not "Germany's First Talking Film", as the marketing had it, but it was the first to be released in the United States. [45]
File:Putevka v zhisn poster.jpg
In 1930, the first Polish talkies premiered, using sound-on-disc systems: Moralność pani Dulskiej (The Morality of Mrs. Dulska) in March and the all-talking Niebezpieczny romans (Dangerous Love Affair) in October. [47] In Italy, whose once vibrant film industry had become moribund by the late 1920s, the first talkie, La Canzone dell'amore (The Song of Love), also came out in October; within two years, Italian cinema would be enjoying a revival. [48] The first movie spoken in Czech debuted in 1930 as well, Tonka Šibenice (Gallows Toni). [49] Several European nations with minor positions in the field also produced their first talking pictures—Belgium (in French), Denmark, Greece, and Romania. [50] The Soviet Union's robust film industry came out with its first sound features in 1931: Dziga Vertov 's nonfiction Entuziazm, with an experimental, dialogueless soundtrack, was released in the spring. [51] In the fall, the Nikolai Ekk drama Putyovka v zhizn (The Road to Life), premiered as the state's first talking picture.
Throughout much of Europe, conversion of exhibition venues lagged well behind production capacity, requiring talkies to be produced in parallel silent versions or simply shown without sound in many places. While the pace of conversion was relatively swift in Britain—with over 60 percent of theaters equipped for sound by the end of 1930, similar to the U.S. figure—in France, by contrast, more than half of theaters nationwide were still projecting in silence by late 1932. [52] According to scholar Colin G. Crisp, "Anxiety about resuscitating the flow of silent films was frequently expressed in the [French] industrial press, and a large section of the industry still saw the silent as a viable artistic and commercial prospect till about 1935." [53] The situation was particularly acute in the Soviet Union; as of spring 1933, fewer than one out of every hundred film projectors in the country was as yet equipped for sound. [54]
The transition: Asia
File:AlamAra.jpg
The Mandarin-language Gēnǚ hóng mǔdān ( Template:Linktext , Singsong Girl Red Peony), starring Butterfly Wu, premiered as China's first feature talkie in 1930. By February of that year, production was apparently completed on a sound version of The Devil's Playground, arguably qualifying it as the first Australian talking motion picture; however, the May press screening of Commonwealth Film Contest prizewinner Fellers is the first verifiable public exhibition of an Australian talkie. [62] In September 1930, a song performed by Indian star Sulochana , excerpted from the silent feature Madhuri (1928), was released as a synchronized-sound short, making it that nation's mini–Dream Street. [63] The following year, Ardeshir Irani directed the first Indian talking feature, the Hindi-Urdu Alam Ara , and produced Kalidas, primarily in Tamil with some Telugu. Nineteen-thirty-one also saw the first Bengali-language film, Jamai Sasthi, and the first movie fully spoken in Telugu, Bhakta Prahlada. [64] In 1932, Ayodhyecha Raja became the first movie in which Marathi was spoken to be released (though Sant Tukaram was the first to go through the official censorship process); the first Gujarati-language film, Narsimha Mehta, and all-Tamil talkie, Kalava, debuted as well. The next year, Ardeshir Irani produced the first Persian-language talkie, Dukhtar-e-loor. [65] Also in 1933, the first Cantonese-language films were produced in Hong Kong—Sha zai dongfang (The Idiot's Wedding Night) and Liang xing (Conscience); within two years, the local film industry had fully converted to sound. [66] Korea , where byeonsa held a role and status similar to that of the Japanese benshi, in 1935 became the last country with a significant film industry to produce its first talking picture: Chunhyangjeon ( Template:Lang / Template:Lang ) is based on the seventeenth-century pansori folktale " Chunhyangga ," of which as many as fourteen film versions have been made to date. [67]
Consequences
File:BroadwayMelodyPoster.jpg
In September 1926, Jack Warner , head of Warner Bros., was quoted to the effect that talking pictures would never be viable: "They fail to take into account the international language of the silent pictures, and the unconscious share of each onlooker in creating the play, the action, the plot, and the imagined dialogue for himself." [84] Much to his company's benefit, he would be proven very wrong—between the 1927–28 and 1928–29 fiscal years, Warners' profits surged from $2 million to $14 million. Sound film, in fact, was a clear boon to all the major players in the industry. During that same twelve-month span, Paramount's profits rose by $7 million, Fox's by $3.5 million, and Loew's/MGM's by $3 million. [85] RKO, which hadn't even existed in September 1928 and whose parent production company, FBO, was in the Hollywood minor leagues, by the end of 1929 was established as one of America's leading entertainment businesses.
Even as the Wall Street crash of October 1929 helped plunge the United States and ultimately the global economy into depression , the popularity of the talkies at first seemed to keep Hollywood immune. The 1929–30 exhibition season was even better for the motion picture industry than the previous, with ticket sales and overall profits hitting new highs. Reality finally struck later in 1930, but sound had clearly secured Hollywood's position as one of the most important industrial fields, both commercially and culturally, in the United States. In 1929, film box-office receipts comprised 16.6 percent of total spending by Americans on recreation; by 1931, the figure had reached 21.8 percent. The motion picture business would command similar figures for the next decade and a half. [86] Hollywood ruled on the larger stage, as well. The American movie industry—already the world's most powerful—set an export record in 1929 that, by the applied measure of total feet of exposed film, was 27 percent higher than the year before. [87] Concerns that language differences would hamper U.S. film exports turned out to be largely unfounded. In fact, the expense of sound conversion was a major obstacle to many overseas producers, relatively undercapitalized by Hollywood standards. The production of multiple versions of export-bound talkies in different languages, a common approach at first, largely ceased by mid-1931, replaced by post-dubbing and subtitling. Despite trade restrictions imposed in most foreign markets, by 1937, American films commanded about 70 percent of screen time around the globe. [88]
Just as the leading Hollywood studios gained from sound in relation to their foreign competitors, they did the same at home. As historian Richard B. Jewell describes, "The sound revolution crushed many small film companies and producers who were unable to meet the financial demands of sound conversion." [89] The combination of sound and the Great Depression led to a wholesale shakeout in the business, resulting in the hierarchy of the Big Five integrated companies (MGM, Paramount, Fox, Warners, RKO) and the three smaller studios also called "majors" (Columbia, Universal, United Artists) that would predominate through the 1950s. Historian Thomas Schatz describes the ancillary effects:
[B]ecause the studios were forced to streamline operations and rely on their own resources, their individual house styles and corporate personalities came into much sharper focus. Thus the watershed period from the coming of sound into the early Depression saw the studio system finally coalesce, with the individual studios coming to terms with their own identities and their respective positions within the industry. [90]
The other country in which sound cinema had an immediate major commercial impact was India. As one distributor of the period said, "With the coming of the talkies, the Indian motion picture came into its own as a definite and distinctive piece of creation. This was achieved by music." [91] From its earliest days, Indian sound cinema has been defined by the musical—Alam Ara featured seven songs; a year later, Indrasabha would feature seventy. While the European film industries fought an endless battle against the popularity and economic muscle of Hollywood, ten years after the debut of Alam Ara, over 90 percent of the films showing on Indian screens were made within the country. [92] Most of India's early talkies were shot in Bombay , which remains the leading production center, but sound filmmaking soon spread across the multilingual nation. Within just a few weeks of Alam Ara's March 1931 premiere, the Calcutta -based Madan Pictures had released both the Hindi Shirin Farhad and the Bengali Jamai Sasthi. [93] The Hindustani Heer Ranjha was produced in Lahore , Punjab , the following year. In 1934, Sati Sulochana , the first Kannada talking picture to be released, was shot in Kolhapur , Maharashtra ; Srinivasa Kalyanam became the first Tamil talkie actually shot in Tamil Nadu . [94] Once the first talkie features appeared, the conversion to full sound production happened as rapidly in India as it did in the United States. Already by 1932, the majority of feature productions were in sound; two years later, 164 of the 172 Indian feature films were talking pictures. [95] From 1934 through the present, with the sole exception of 1952, India has been among the top three movie-producing countries in the world every single year.
Aesthetic quality
File:LAtalantePoster.jpg
In the first, 1930 edition of his global survey The Film Till Now, cinema pundit Paul Rotha declared, "A film in which the speech and sound effects are perfectly synchronised and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema." [96] Such opinions were not rare among those who cared about cinema as an art form; Alfred Hitchcock, though he directed the first commercially successful talkie produced in Europe, held that "the silent pictures were the purest form of cinema" and scoffed at many early sound films as delivering little beside "photographs of people talking." [97]
Most latter-day film historians and aficionados agree that silent film had reached an aesthetic peak by the late 1920s and that the early years of sound cinema delivered little that was comparable to the best of the silents. For instance, despite fading into relative obscurity once its era had passed, silent cinema is represented by eleven films in Time Out 's Centenary of Cinema Top One Hundred poll, held in 1995. The earliest sound film to place is the French L'Atalante (1934), directed by Jean Vigo ; the earliest Hollywood sound film to qualify is Bringing Up Baby (1938), directed by Howard Hawks . The first year in which sound film production predominated over silent film—not only in the United States, but also in the West considered as a whole—was 1929; yet the years 1929 through 1931 (for that matter, 1929 through 1933) are represented by three dialogueless pictures ( Pandora's Box [1929; often misdated 1928], Zemlya [1930], City Lights [1931]) and zero talkies in the Time Out poll.
Sound's short-term effect on cinematic art may be gauged in more detail by considering those movies from the transition period—the last years of commercial silent film production and the first years of talking pictures—in the West that are widely cited as masterpieces, as recorded in recent major media polls of all-time best international movies (though some listed as silent films, like Sunrise and City Lights, premiered with recorded scores and sound effects, they are now customarily referred to by historians and industry professionals as "silents"—spoken dialogue regarded as the crucial distinguishing factor between silent and sound dramatic cinema). From the six-year period 1927–32, eleven silent films are broadly recognized as masterpieces and only one talkie (TO= Time Out; VV= Village Voice ; S&S= Sight & Sound ): [98]
Silent films
1927: The General (U.S.; VV 01, S&S 02), Metropolis (Germany; VV 01, S&S 02), Napoléon (France; TO 95), October (USSR; VV 01); Sunrise (U.S.; TO 95, VV 01, S&S 02)
1931: M (Germany; VV 01, S&S 02)
1932: none
The first sound feature film to receive near-universal critical approbation was Der Blaue Engel (The Blue Angel); premiering on April 1 , 1930 , it was directed by Josef von Sternberg in both German and English versions for Berlin's UFA studio. The first American talkie to be widely honored was All Quiet on the Western Front , directed by Lewis Milestone , which premiered April 21 . The other internationally acclaimed sound drama of the year was Westfront 1918 , directed by G. W. Pabst for Nero-Film of Berlin. Cultural historians consider the French L'Âge d'or , directed by Luis Buñuel , which appeared in October 1930, to be of great aesthetic import, though more as a signal expression of the surrealist movement than as cinema per se. The earliest sound movie now acknowledged by most film historians as a masterpiece is Nero-Film's M , directed by Fritz Lang , which premiered May 11 , 1931 .
Cinematic form