Romeo and Juliet—Part I

“Romeo and Juliet—Thanhouser—two reels. This is the first attempt of an Independent manufacturer to produce a two-reel attraction. The subject was well chosen, for ‘age cannot wither nor custom stale’ the deathless charm of Shakespeare. Romeo and Juliet has been rendered in the moving pictures before, more than two years ago by the Vitagraph Company. The film of the Vitagraph Company possesses rare merit, but the present production has a great advantage—it has more space for the telling of the story, 2,000 feet instead of only 1,000. Nothing could better illustrate the advantage of the two-reel over the one-reel film than a comparison between the productions of these two companies. The Vitagraph story was excellently well told, the acting was superb, the settings magnificent, the adaptation clever. The two-reel production, however, makes the story plainer to a person who has never read the classic tragedy. It is creditable to the maker of this present film that each of the reels tells a story of its own; one the love story, the other the tragedy. As the reels are issued at different times this will help the exhibitor. Someday it is to be hoped that an arrangement will be made which allows of such productions being released at the same time—the only sensible and logical way.

“The Thanhouser adaptation is a work of skill and conscientious effort and makes the story very plain to every grade of intelligence, a merit which cannot be estimated too highly. All of the classic figures in the play are well individualized, from Romeo and Juliet to the smallest character. This individualization extends to the matter of costumes as well; indeed, in this regard the present production leaves no room for adverse criticism. This is much to be lauded, for in a Shakespearean classic above all things, proper costuming is an essential part of the right atmosphere. The settings, especially the outdoor scenes, are very happily chosen and arranged, and lend much charm to the production. Owing to the fact that the film maker had two reels on which to tell the story, he was able to give much space to the opening scenes which make it so much easier to grasp and follow the story. The choosing of these scenes was dictated by art and good taste. Just praise must be given to the acting, which is well up to the general fine standard of the whole production.”

Ed. note: This reviewer bent over backwards not to offend Vitagraph!

“Such a production is deserving of praise. The film has been divided into two parts that will be released on consecutive Fridays. Part I takes these lovers of rival houses up to the consummation of their marriage. The backgrounds, costuming and stage management are altogether impressive and in keeping and follow in action and general treatment the usual stage business. The quarrel between the two families is seen, the ball, the arranged meeting of the lovers by the old nurse, the balcony scene, and the marriage in the priest’s cell. The nurse is especially well acted, and all members of the cast bring grace and intelligence to bear on their respective roles. Mercutio, however, it would seem, might have been a more delightful Romeo than as Mercutio.”

MUSICAL ACCOMPANIMENT. From the “Music for the Picture” column by Clarence E. Sinn, in The Moving Picture World, September 16, 1911:

“The Thanhouser people had a chance to issue a picture with music, but they passed it up, which is much to be regretted. They gave us a picture all right—Romeo and Juliet, and they are to be complimented on their work throughout. But such a fine production deserves fitting surroundings of which music is not the least important. The opera of the same title (and story) would furnish ample material for a competent musician to make a score from. I saw the picture at several houses and at each case the house was crowded to capacity and a long line was waiting for the next show. That and the fact that each seemed to thoroughly enjoy the picture and heartily applaud at each reel would seem to indicate that the general public appreciates high-class films and will show such appreciation in the way it counts the most; i.e. money at the door and applause for the show.

“I had the good fortune to hear the picture accompanied by very creditable music at a couple places—notably at Sittner’s Theatre, Chicago. I did not learn the pianist’s name, but desire to compliment her for good work. I’m offering a few suggestions for music for this picture which is selected mostly from popular catalogues, for the reason that this music is likely to be familiar to the majority of my readers. I am not offering this as the best selection, but as the most practical inasmuch as it is within the immediate reach of many. And of those who have not got the numbers mentioned, I believe they are sufficiently known to substitute music of a like nature. But I hope the next time anyone issues a splendid classic like this one they will include music in the production.” Sinn’s suggestions follow:

ROMEO AND JULIET (THANHOUSER)

PART I.

1. Martinique intermezzo (or allegretto) until subtitle: “Capulet and Montague,” etc.

2. Heroic until combat, then -

3. Agitato until end of combat.

4. Gavotte until “Romeo is Persuaded,” etc.

5. Allegretto (similar to number one) until “Romeo and Juliet Meet.”

6. Valse Lento until they form for dance.

7. Minute slow and well marked until dancers exit, then:

8. La Cinquantine until “His Name Is Romeo,” etc.

9. Valse Lento until “But, Soft, What Light Through Yonder Window.”

10. Intermezzo from Cavalleria Rusticana or something similar until “Romeo Entreats the Good Friar,” etc.

11. Vesper bells until “Juliet’s Old Nurse Acts as Messenger.”

12. Reverie (The Rose’s Honeymoon) until change of scene.

13. Gavotte until “Then Hie You Hence,”

14. Valse Lento until “Holy Church Incorporate.” Then:

15. Religioso until garden scene,

16. Light pretty waltz movement or semi-sentimental. (I heard one pianist use Oh Promise Me with good effect.)

17. Swell or change to sentimental for finish.

PART II

1. Semi-mysterious until next scene.

2. Agitato at duel until they stop fighting, then:

3. Short plaintive until second duel.

4. Agitato until end of scene.

5. Religioso all through scene. At change:

6. Pathetic until “Juliet’s Father Not Knowing,” etc.

7. Waltz movement until Juliet is alone with her father.

8. Reverie (The Harvest Moon) until Friar opens door for her.

9. Semi-religious until Juliet appears in the garden.

10. Reverie (Heart’s Ease) until “Believing Juliet to be Dead.”

11. Pathetic until “Paris, Who Loved Juliet.”

12. Pathetic (minor key—suggestive of funeral) until “Stop Thy Unhallowed Toil.”

13. Agitato pp. swell for combat. Then:

14. Plaintive until “The Friar Learns That His Letter To Romeo.”

15. Mysterious until Juliet rises.

16. Plaintive until change of scene.

17. Mysterious until Friar enters the tomb.

18. Plaintive (minor key) until end.

Note: Suggestions for musical accompaniment also appeared in The Moving Picture News, October 6, 1911.

“ROMEO AND JULIET IN TWO REELS—The Thanhouser feature production Romeo and Juliet in two reels has been whipped into shape for exhibition. It will be released on consecutive Fridays, part one, Friday, September 1st, and part two, Friday, September 8th. Prior to this, private exhibitions will be given for exchanges and other interested parties, and the film of ‘the greatest love story of all’ will be given chance aplenty to make good with the people who distribute the Independent product. The reels are so constructed that each tells a complete story. Giving a half hour show as they do when used together, they will enable the exhibitors to give a ‘Romeo and Juliet night’ that affords all manners of opportunity for future advertising. Many managers will use them together as they appear for the first showing, and book them together for the return date.”