What if the competition got a head start, leaving one with a supply of unwanted silents? Anxious not to be left behind, the studios announced that a total of two hundred titles for the next season would have sound of some sort. And the sound would have to be flashy, calling attention to the new marvel. This required that everyone, for the first time, give some thought to answering the basic question, What is a sound film? Producers tried out various hedging approaches, including synchronized music and effects, goat glands, and part-talkies. The aim was to make something that could be called a sound film in order to cash in on the widespread curiosity, to buy time in order to explore efficient ways of making talkies, and to ascertain audience preferences. As a result, the 1928-1929 season was extraordinarily diverse and is difficult to categorize. Most of the films of the introductory period, however, show off their status as sound films. There are many kinds of films discussed in this chapter, but almost all of them are distinguished by their "you can't miss this!" approach to sound.
Al Jolson in THE SINGING FOOL (Warner Bros., 1928).
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