Stokowski—Garbo

Radio Record, 18 March 1938, Page 15

Stokowski—Garbo

Marriage to Unite Mystery 5 tar and Musical Rebel Who Dared Play Bach for Movies

by

Jane

Raeburn

Y the time this article is read, Greta Garbo should have become Mrs. Leopold Stokowski -unless, for once, she follows a Hollywood fashion instead of leading it and makes a change of heart at the eleventh hour. With the marriage will be united the two greatest publicity artists the film world has known. Ever since the tall Swedish millinery assistant, Greta Gustaffson, came to Hollywood in the dark, old speechless days, her adopted name of Garbo has flamed in uncompromising capitals above the chaos of flickering, shifting lights that stud the filmland skies. Although vo one has ever read an exclusive_ story of Garbo’s One Tragic Love by Herself, or been told the secret of Her Beautiful Lips, yet Garbo has made herself better known throughout the world by her flight from the usual sorts of publicity than any other actor or actress by their seeking. Directiy by her individualistic work and indirectly by her profound influence upon the work of dozens of other actresses, she, of all women, has made the most enduring impression upon s¢reen histrionics, Greta Garbo is the perfection and the only econsistent vindication of the art of publicity by mystery, of holding listeners by saying nothing. EOPOLD STOKOWSKI has captured the ears of the public by different means. This trim little man with the thatch of Harlow blonde hair and the dry, slow voice has made himself the world’s most famous conductor. Toscanini and the others are possibly better, but Stokowski is the favourite. For Stokowski is the supreme showman of music. Born in London of Polish soldierstock, Stokowski went to America as

a young man, and for more than quarter of a century has been conducting symphonic music there. With his orchestra he pioneered the recording of symphonic music for the phonograph, and his constant willingness to experiment with the scientists of sound must \ndoubtedly have aided materially in khe great technical improvement in fidelity of reproduction. Later he plunged into the new field of radio broadcasting, and finally turned his eyes to the medium of films. Last year he did something which sent the hands of the musically-snoblish towards high heaven. He signed a contract with Paramount to conduct his symphony orchestra side by side with the band of Benny Goodman, America’s King of Swing. "The Big Broadcast of 1987" was the first picture in which a major symphony orchestra played enduring classical music as a feature of its entertainment, ‘A T the time the film came to Wel- ’ lington the Monte Carlo Russian Ballet and their orchestra, under

Jascha Horenstein, were playing at the Opera House. I remember speaking of Stokowski’s debut to Ivan Clayton, the second conductor, but that young man turned

supercilious eyes upon me and waved a lily hand. "We can’t understand it," he said sadly. "How the fellow could do it! It’s the sort of thing one just doesn’t do." Young Mr, Clayton's aititude was not unusual. People felt when the maestro allowed the camera to watch his every gesture as he guided the orchestra through the maguificent passages of the Bach Fugue in G Minor that he was somehow laying bare his defences. They felt a master in an oceult art had made of himself a mockery for the amuscment of hooligaus. Stokowski was reviled everywhere by his fellow musicians as the P. T. Barnum of his art, a mercenary showman with exceptional talent but no sincerity. It was not true. Stokowski is certainly a showman: he aduits it. But for all that, he is a great artist, too. He has genuine faith tn the people’s wish to have music, and more music. He proposes to give them it through films like "The Big Broadcast" and "100 Men and a Girl." No coercion. No snobbery. His is the straight line to the ears of the world, and it will get there-no matter what the obstacles or how long it takes-because (Continued on page 62).

Stokowski-Garbo (Continued from page 15) ,

it is a good-and desired line. "This music I have projected. thrqugh | the screen," he once said, "will-go to the humblest people in the deepest depths of the earth. I have been in Africa, and I was amazed to find movie houses in native villages. Pygmies go to pictures. Pygmies will: go to "The Big Broadcast,’ and they will hear the Bach Fugue. «*En* that: film Faas accused of melodania because I: had the lights playing upon me duying the Fugue.. But-vision

ie ee ee eee ee ee ee is important to sound. When the ear is performing the major function, the eye either supplements or detracts from the business of the- ear. ‘If it has nothing to do, it detratcs. Give it something to look at’ and it swpplements," That was why he gave his hands and his intent face to watch. A showman indeed. He alone would dare that fabulous stunt of stopping the Philadelphia Orchestra midstream to say: "When the person in the audience chooses to stop coughing, the concert will proceed. The Philadelphia Orchestra does not.wisb to-enter inte competition with the listeners." — But’ Stokowski is ‘a. showman with a

great mission-to give the satisfaction of the world’s richest music to the poor and the uncultured everywhere. Even now he is fighting tooth and. nail for. a full-length screen Carmen which he wants to conduct. Meanwhile, Garbo talks of comedy and directing her own pictures, When these two great people are to-gether-the man with the burning mission and the woman of mystery-what will lie ahead? Who knows? Who can tell?-but the promise is.splendid.