Page 7 - CinemaRecord #10R.pdf

Slowly the industry began to stabilise. The world began to realise that the talking picture had come to stay.
There was far too much capital involved for the bubble to burst and disappear. Film producing companies, who
had held back at the beginning, now made plans for converting their studios for sound recording. The lesser
and more cautious cinemas placed orders for wiring. Most of the early installations were made with an eye to
quick profits, but now influence was felt. The quantities of silent pictures were dropping off as producer after
producer embarked on an "all sound" programme. It became evident that soon cinemas would have to show
talkies or none at all.

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Stabilisation had arrived. The question was solved, and the cinema industry all over the world felt relieved
even as it deplored the expenditure. The cinema operator, who had gradually dropped out of prominence as
the silent projectors were brought to perfection, found himself once more the important man of the show.
Showing talking pictures demanded skill and a degree of knowledge far in advance of what was adequate for
the silent screen.

In Hollywood stars began to fade and others arose. All had to undergo the searching test of the microphone. It
was found that some voices recorded much better than others. A good "talkie" voice became a greater passport
to stardom than the most perfect of profiles.

Today the cinema picture talks. It is the result of invention and industry, and is probably the finest example of
what may be done by logical scientific attack. Progress in the cinema industry proudly marches onward to even
greater achievements.
Extracts from "TALKING PICTURES" by Bernard Brown. 1933