Triumph of the talkies In February 1927, an agreement was signed five major Hollywood producers, the so-called Big Two, Paramount and MGM, and First National (once in the ranking of the industry it with Fox, but now decline), the Universal midsize, and small but prestigious Producers Distributing Corporation (PDC) of Cecil B. DeMille-to collectively select a single supplier for the conversion of sound. The group of five then settled back and waited to see what kind of results proposed precursors. In May, Warner Bros. sold back its exclusive rights to ERPI (along with the Fox-Case sub) and signed a new contract similar to Fox’s royalty for the use of technology from Western Electric.As Fox and Warner moved to cinema sound in different directions, both technologically and commercially-Fox with newsreels and later music dramas, the Warner-talkies so did ERPI, which sought to seize the market with five major signing allies. All major sound film sensations of the year took advantage of existing celebrities. NYC Mayor understood the implications. On May 20, 1927, at the Roxy Theatre in New York, Fox Movietone made a sound film of the takeoff of the famous flight of Charles Lindbergh to Paris, recorded earlier that day. In June, a Fox sound newsreel shown presenting his welcome back to New York and Washington, DC.These were the two most acclaimed sound films to date. Also in May, Fox released the first Hollywood film with synchronized dialogue fiction: the short They’re Coming to Get Me, starring the CIMIC Chic Sale. 23 After a few hits reissue silent films as The Seventh Heaven, with recorded music, Fox took his first original film Movietone September 23: Sunrise, by acclaimed German director FW Murnau. As with Don Juan, the soundtrack of the film was composed of music and sound effects (including in a couple of scenes full of people, conversations nonspecific).
Then on October 6, 1927, was released The Jazz Singer, Warner Bros..It was a hit at the box office for the study of medium size, earning a total of 2.625 million in the United States and abroad, nearly a million dollars more than the previous record for a Warners film. Produced with the Vitaphone system, most of the movie contains no audio was recorded live, depending, as Dawn and Don Juan, his music and sound effects. When the star of the film, Al Jolson, singing, however, the film switches to sound recorded on set, including both his musical performances and two scenes with an impromptu speech, Jolson’s character, Jakie Rabinowitz (Jack Robin) addressing the audience in a nightclub, the other an exchange of views between him and his mother.Although the success of The Jazz Singer was due largely to Jolson, already established as one of the largest U.S. music stars and their limited use of synchronized sound hardly qualified as an innovative sound film (but as the ” first “), substantial benefits were sufficient proof that the industry was worth investing in technology. The development of commercial sound cinema had progressed in fits and starts before The Jazz Singer, and the success of the film did not change things from night to morning. It was not until May 1928 that the four main reluctant (PDC had left the alliance), along with United Artists and others signed with ERPI for the conversion of production facilities and theaters for sound film.Initially, all theaters wired for ERPI Vitaphone were made compatible with the majority were equipped to project Movietone reels as well. Even with access to both technologies, however, most of the Hollywood companies remained slow to produce own language films. No studies other than Warner Bros. premiered a film or sound parts until the little Film Booking Offices of America (FBO) Perfect Crime opened on June 17, 1928, eight months after The Jazz Singer. FBO had fallen under the effective control of a competitor of Western Electric, RCA division of General Electric, who was looking to market their new sound-on-film, Photophone. Unlike the Fox-Case Movietone and De Forest Phonofilm, which were variable-density systems, Photophone was a variable-area system refinement in the way the audio signal was recorded on film that would eventually become the rule.(In both systems, a specially designed lamp, exposure of the film which is determined by the audio input is used to record sound photographically as a series of tiny lines.