A part-talkie is a sound film that includes at least some "talking sequences" or sections with audible dialogue. The remainder of the film is provided with a synchronized musical score with sound effects. These films more often than not contain a main theme song that is played during key scenes in the film and is often sung offscreen on the musical soundtrack. During the portion without audible dialogue, speaking parts are presented as intertitles—printed text briefly filling the screen—and the soundtrack is used only to supply musical accompaniment and sound effects.
In the case of feature films made in the United States, nearly all such hybrid films date to the 1927–1929 period of transition from "silents" to full-fledged "talkies" with audible dialog throughout. It took about a year and a half for a transition period for American movie houses to move from almost all silent to almost all equipped for sound.[1] In the interim, studios reacted by improvising four solutions: fast remakes of recent productions, the addition of one or two sound segments spliced into already finished productions, dual sound and silent versions produced simultaneously, and part-talkies.
The famous so-called "first talking picture", The Jazz Singer (1927), starring Al Jolson, is actually a part-talkie. It features only about fifteen minutes of singing and talking, interspersed throughout the film, while the rest is a synchronized film with intertitles and only a recorded orchestral accompaniment with sound effects.
History
As the financial success of early part-talking feature-length sound films such as The Jazz Singer and The Singing Fool became apparent, producers of silent films which were either in production, or had recently been completed but not yet released, hastened to add or retrofit synchronized dialog segments so that their films could be advertised as "talking pictures" to a newly sound-hungry public. "You will hear the characters speak from the screen!" the ads could truthfully promise, even if all the audible speech was confined to one brief segment in an otherwise mute film.
Due to the excitement of the public over sound film, films that were retrofitted with sound became successful while those that were released silent often failed to make a profit. The sound versions were often criticized by critics. However, box office receipts showed that, for the general public, sound versions were by and large preferred over silent films. The success of the pictures can be gauged by how quickly theme songs from these sound films became best sellers. Seemingly overnight, the top selling records, sheet music, and piano rolls all became songs that were associated with sound films.
The Paul Fejos film Lonesome (1928) was a hit with the public and the sound version made a profit of $407,923.23 for Universal. The film was nevertheless criticized by some critics who disliked the addition of several minutes of small talk between the lead characters. They argued that these additions caused previously sympathetic audiences to abruptly lower their opinions of the characters' personalities and level of intelligence. What these critics (all of whom lived in big cities with theatres that could afford large orchestras) failed to grasped was that even audiences in rural areas were now able to experience a proper orchestra to accompany their films. Before this, they had had to settle for something simple such as organ accompaniment.
In 1928, Universal Pictures began filming Edna Ferber's novel Show Boat as a silent film. Then, influenced by the success of the smash hit Broadway musical version, they halted filming midway through production in order to add two sound segments to the film. They also made a sound prologue featuring three of the stage musical's actors singing five songs from the show. (The prologue was intended to be shown just before the actual film at every theatre wired for sound.) The film, prologue and all, was finally released in 1929. The film made a handsome profit, with rentals totaling $1,643,000 at the box office.
Douglas Fairbanks' last swashbuckler, The Iron Mask (1929) was based on Dumas's L'homme au masque de fer and featured a sound prologue, in which Fairbanks' voice was heard from the screen for the first time, but the body of the film had no audible dialog.
In 1930, the Lon Chaney silent film success The Phantom of the Opera, originally released in 1925, was reissued with some newly filmed talking segments. Although the majority of the film was five years old, the reissue was a success. It earned an additional million dollars for Universal. The highest quality known reel of The Phantom of the Opera is a copy of the International Sound Version which was made for foreign markets.
Most copies of silent films that were re-released as part-talkies survive only in sound versions. This was because the silent versions made little or no profit for the studios and the demand was low for these versions which were already perceived as outdated by the public. Many famous silent films, like Lonesome, survive only in their sound versions, which is incidentally what most audiences saw, because the majority of the public had no interest in viewing silent films.
By late 1929, virtually all films in production in the US were "100 percent all talking", although there were rare and sometimes successful exceptions. Charlie Chaplin's Modern Times, released in 1936, is an example of an unusually late part-talkie. The only voices heard in the film are those of the factory foreman, of a salesman making his pitch by means of a phonograph record, and of Chaplin when he sings a gibberish song in a nightclub scene. The soundtrack for the rest of the film is simply an orchestral score accompanying the action, with occasional sound effects.
The film The Artist (2011), winner of the 2012 Academy Award for Best Picture, was promoted as a silent film and the first of its kind to win a major Oscar award since the 1920s, but it was really a part-talkie due to the use of on-screen dialog at the end, audible female laughter in a dream sequence, and the appearance of a song with sung lyrics on the soundtrack.
The Iron Mask is a 1929 American part-talkie adventure film directed by Allan Dwan. In addition to some sequences with dialogue, the film featured a synchronized musical score with sound effects and a theme song.
The Godless Girl is a 1928 American sound part-talkie dramatic directed by Cecil B. DeMille. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the RCA Photophone sound-on-film system. The cast features Lina Basquette, Marie Prevost, Tom Keene, and Noah Beery.
Lucky Star is a 1929 sound part-talkie American romantic drama film starring Janet Gaynor and Charles Farrell, and directed by Frank Borzage. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Movietone sound-on-film system. The plot involves the impact of World War I upon a farm girl (Gaynor) and a returning soldier (Farrell).
Christina is a lost 1929 sound part talkie starring Janet Gaynor and directed by William K. Howard. The supporting cast includes Charles Morton, Rudolph Schildkraut, Harry Cording, and Lucy Doraine. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Movietone sound-on-film system.
Gang War is a 1928 American sound part-talkie gangster film directed by Bert Glennon, best known for being the main feature attached to Steamboat Willie, the debut of Mickey Mouse in sound. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the RCA Photophone sound-on-film system. Despite the synchronised sound as well as the all-star cast, the film is largely unknown in its own right. One reel of an original 35mm positive print of nitrate film survives at the BFI film archive. The rest of the film appears to be lost. The film has been overshadowed by its far more famous preceding short, Steamboat Willie. The film starred Jack Pickford in his last major role as "Clyde", a saxophone player whose love for a dancer named Flowers traps him in the middle of a gang war.
My Man is a 1928 black and white sound part-talkie American comedy-drama musical film directed by Archie Mayo starring Fanny Brice and featuring Guinn "Big Boy" Williams. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Vitaphone sound-on-disc system.
Tenderloin is a 1928 American sound part-talkie crime film directed by Michael Curtiz, and starring Dolores Costello. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects, along with English intertitles. The soundtrack was recorded using the Vitaphone sound-on-disc system. It was produced and released by Warner Bros. Tenderloin is considered a lost film, with no prints currently known to exist.
Hardboiled Rose is a 1929 American sound part-talkie romantic drama film directed by F. Harmon Weight and released by Warner Bros. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Vitaphone sound-on-disc system. The film starred Myrna Loy, William Collier, Jr., and John Miljan.
Trent's Last Case is a 1929 American sound part-talkie Pre-Code detective film directed by Howard Hawks and starring Raymond Griffith, Marceline Day, Raymond Hatton, and Donald Crisp. It was released by Fox Film Corporation. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Movietone sound-on-film system.
A Cottage on Dartmoor is a 1929 British part-talkie sound film, directed by Anthony Asquith and starring Norah Baring, Uno Henning and Hans Adalbert Schlettow. The cameraman was Stanley Rodwell. In addition to a sequence with audible dialogue or a talking sequence, the film also featured a synchronized musical score with sound effects and English intertitles. The soundtrack was recorded using the Klangfilm Tobis sound recording process. A cut down edited silent version was made for theatres that had not yet converted to sound but this version is no longer extant.
Kitty is a 1929 sound part-talkie British drama film directed by Victor Saville and starring Estelle Brody and John Stuart. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The film was adapted from the 1927 novel of the same name by Warwick Deeping and marked the third co-star billing of Brody and Stuart, who had previously proved a very popular screen pairing in Mademoiselle from Armentieres (1926) and Hindle Wakes (1927).
The Crimson Circle is a 1929 British-German sound part-talkie crime film directed by Frederic Zelnik and starring Lya Mara, Fred Louis Lerch, and Stewart Rome. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The sound was recorded via the De Forest Phonofilm sound-on-film process. The film is an adaptation of the 1922 Edgar Wallace novel The Crimson Circle in which Scotland Yard detectives battle a gang of blackmailers. A previous UK version was filmed in 1922.
This Is Heaven is a 1929 American sound part-talkie pre-code sound part-talkie romantic comedy film directed by Alfred Santell and starring Vilma Bánky. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Western Electric sound-on-film system. The film was produced by Samuel Goldwyn and released through United Artists.
She Goes to War is a 1929 sound part-talkie directed by Henry King and starring Eleanor Boardman. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the RCA Photophone sound-on-film system. The film was released a year after Boardman had starred in The Crowd.
Not Quite Decent is a 1929 American sound part-talkie Pre-Code film, produced and distributed by Fox Film Corporation, directed by Irving Cummings, and starring June Collyer and Louise Dresser. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Movietone sound-on-film system.
Varsity is a lost 1928 American sound part-talkie comedy film directed by Frank Tuttle, written by Howard Estabrook, George Marion Jr. and Wells Root, and starring Charles "Buddy" Rogers, Mary Brian, Chester Conklin, Phillips Holmes, Robert Ellis and John Westwood. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Western Electric sound-on-film system. The film was released on October 27, 1928, by Paramount Pictures.
The Man and the Moment is a formerly lost 1929 sound part-talkie romantic comedy film directed by George Fitzmaurice and starring Billie Dove. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Vitaphone sound-on-disc system. The film survives in a copy of the International Sound Version. The sound of the domestic part-talkie version was synchronized to the surviving print of the international sound version. Because of this, many scenes feature intertitles shown immediately after the spoken dialogue conveying the same words. The talking sequences on the international sound version were muted with music and intertitles were inserted to convey the dialogue replaced in the appropriate foreign language. Therefore, intertitles were left in the talking sequences during the restoration to maintain synchronization with the Vitaphone soundtrack. The story is from a 1914 novel by Elinor Glyn, the famous novelist. The film was produced by Richard A. Rowland and released by First National Pictures. A British silent film had been film of the same story in 1918.
The Charlatan is a 1929 sound part-talkie film directed by George Melford for Universal Pictures. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Western Electric sound-on-film system. The film starred Holmes E. Herbert, Margaret Livingston and Rockliffe Fellowes. The film is based on the 1923 play The Charlatan by Leonard Praskins and Ernest Pascal.
No Defense is a 1929 American sound part-talkie romantic drama film directed by Lloyd Bacon and starring Monte Blue. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Vitaphone sound-on-disc system. The film was distributed by Warner Brothers.
New Orleans is a 1929 American sound part-talkie drama film directed by Reginald Barker and starring Ricardo Cortez, William Collier Jr., Alma Bennett. In addition to sequences with audible dialogue or talking sequences, the film features a synchronized musical score and sound effects along with English intertitles. The soundtrack was recorded using the Tiffany-Tone sound-on-film system using RCA Photophone equipment. The was produced and distributed by the independent Tiffany Pictures.
References
↑ Crafton, Donald (1999). History of the American Cinema: The Talkies 1926 to 1931. University of California Press. p.13. ISBN0-520-22128-1.
Further reading
Griffith, R.; Mayer, A. (1957). The Movies. New York: Simon and Schuster.
Walker, A. (1978). The Shattered Silents: How the Talkies Came to Stay. London: Elm Tree Books. ISBN0-241-89736-X.
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