Perhaps all the circumstances converged and worked like an explosion all at once. But for all the diversity of opinions, it seems to us that the arrival of sound in cinema was caused not only by external reasons, but also by internal needs in the Transcriberry transcribing service and the improvement of screen art. There is also a sixth point of view - the sound was called into the movies in order to provide the most natural presentation of events on the screen, the requirement to bring the story in the moving pictures as close as possible to the real human view of the world.

On the screen - as in life! But not only that. By that time, viewers and filmmakers had new needs to complicate and deepen the content of films. Eisenstein tried his best to convey political slogans with montage, but failed. He himself recognized the impossibility of conveying abstract notions by means of image juxtaposition. At that time the cinematography, one might say, had exhausted its potential for in-depth analysis of the phenomena of life.

It was already difficult for it to keep up with literature and theater. And it laid claim to leadership. Sound and the spoken word promised a more complete and subtler disclosure of life, social phenomena and human psychology and threatened to substantially enrich the palette of expressive means of cinema. Threatened, but no more. The sound hit the screen and the camp of cinematographers was torn apart. It split into those who resisted it with all their might and those who welcomed its successful march across the screens with all their might. For many directors and especially actors, the triumph of sound cinema over silent cinema turned out to be a tragedy. They could not adapt, readjust and continue to work in the new system of the aesthetic nature of the screen.

The great Ch. Chaplin to the end of his days was never able to enter the temple of sound cinema, remaining standing only after crossing its threshold. The great filmmakers had good reason to split, to reject sound. The first sound films did not at all shine with artistic merit. And at first the predictions of S. Eisenstein, V. Pudovkin and G. Alexandrov, which they promulgated in their manifesto "The Future of Sound Films", that directors would take the path of least resistance in using sound - only direct synchronism, without seeking artistic merit for their works, came true. And so it happened. The first years of sound cinema are marked by a single significant fact - the hero on the screen synchronously speaks with his voice. This stage in the development of cinema and called it - the era of "talking movies.