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Hollywood highbrow: how the talkies decided they couldn't do without opera.

Opera News

| October 01, 2004 | Mordden, Ethan | COPYRIGHT 2004 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

"Who the hell wants to hear actors talk?" asked Warner Bros.' Harry Warner at the dawn of Hollywood's sound era. The talkie was to be built around music--production numbers, dance specialties, choruses, charm songs, love songs, torch songs, fantasies in ballet, and underscoring for the dramas and comedies.

The actors did talk. But the musical was Hollywood's obsession in the first two years of full sound production, 1929-30. Popular Broadway scores went Hollywood (The Desert Song, Good News!). Straight plays were musicalized (The Gold Diggers as The Gold Diggers of Broadway, the first of countless three-girls-hustle-for-husbands films). Hollywood even turned out ...

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