Word: scene
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Dates: during 1930-1939
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Give Us This Night* (Paramount) is three-quarters sheer melody. Its ballads are the most advanced light opera music yet composed for cinema, and it contains one scene of cinema's first original grand opera-a balcony scene from a work called Romeo & Juliet of which only a few skeleton scenes were ever written. All the music except a short interpolation from Il Trovatore was composed by Erich Wolfgang Korngold, whose Violanta and Dead City have been given at the Metropolitan and who arranged the Mendelssohn score for Warner Brothers' Midsummer Night's Dream...
This time he is a singing fisherman who throws an egg at Tenor Alan Mowbray because he does not like his voice. Hiding from the carabinièri under the terrace of a big house, he hears Gladys Swarthout rehearsing a scene from Romeo & Juliet. Next day when Kiepura is in jail because of the egg. Miss Swarthout brings a composer (Philip Merivale) to hear him sing. The composer inspires so much gratitude in Kiepura by giving him a job that Kiepura later leaves the company when he finds the composer is also in love with Miss Swarthout. The complications...
...well as the character keep a close grip on fact. A vivid notion is given of the stern battle of a humble scientist against ignorance, fantasy, and professional bigotry. Coupled with the accuracy, however, there is a most judicious selection of dramatic incident. Foremost in this line is the scene in which Pasteur is compelled by circumstance to call upon his proud, disdainful opponent, Dr. Charbonnet (Fritz Leiber) to attend the birth of his granddaughter...
...great disgust, were offered 4-A, a skit called School Days in which frisky scholars tossed apples at their teacher and blurted low-calibre puns. To Stuyvesant High School, on the other hand, went 3-A, a divertissement called Parisian Nights. Intended for military consumption, this program included a scene between a bare-legged young woman, a master of ceremonies and an importunate young man. Sample dialog...
Subjects of the 71 pieces in Inhale & Exhale range from the reminiscences of a (Saroyan) schoolboy to speculative statements on the (Saroyan) universe. But whether the scene is barbershop, vaudeville, honkytonk, back street or California valley, Saroyan's brooding eye sees more in it than would meet an ordinary fact-finding glance. He sits through a custard-pie cinecomedy "but God Al mighty it didn't seem funny to me and I sat in the darkness trying to laugh, but I kept thinking, 'Why are they wasting everything, why are they making all these mistakes...