t but not a genuine esthetic point of view in the
development of the moving pictures naturally asked themselves whether
this optical imitation of the drama might not be improved by an
acoustical imitation too. Then the idea would be to connect the
kinematoscope with the phonograph and to synchronize them so completely
that with every visible movement of the lips the audible sound of the
words would leave the diaphragm of the apparatus. All who devoted
themselves to this problem had considerable difficulties and when their
ventures proved practical failures with the theater audiences, they were
inclined to blame their inability to solve the technical problem
perfectly. They were not aware that the real difficulty was an esthetic
and internal one. Even if the voices were heard with ideal perfection
and exactly in time with the movements on the screen, the effect on an
esthetically conscientious audience would have been disappointing. A
photoplay cannot gain but only lose if its visual purity is destroyed.
If we see and hear at the same time, we do indeed come nearer to the
real theater, but this is desirable only if it is our goal to imitate
the stage. Yet if that were the goal, even the best imitation would
remain far inferior to an actual theater performance. As soon as we have
clearly understood that the photoplay is an art in itself, the
conservation of the spoken word is as disturbing as color would be on
the clothing of a marble statue.

It is quite different with accompanying music. Even if the music in the
overwhelming majority of cases were not so pitifully bad as it is in
most of the picture theaters of today, no one would consider it an
organic part of the photoplay itself, like the singing in the opera. Yet
the need of such a more or less melodious and even more or less
harmonious accompaniment has always been felt, and even the poorest
substitute for decent music has been tolerated, as seeing long reels in
a darkened house without any tonal accompaniment fatigues and ultimately
irritates an average audience. The music relieves the tension and keeps
the attention awake. It must be entirely subordinated and it is a fact
that most people are hardly aware of the special pieces which are
played, while they would feel uncomfortable without them. But it is not
at all necessary for the music to be limited to such harmonious
smoothing of the mind by rhythmical tones. The music can and ought to be
adjusted to the play