Wednesday, June 29, 2016

Anno uno 8 A: American Mutoscope 1896

Stable on Fire

1896. Cinema anno uno – Lumière!
1896. Year One of Cinematography
Programma 8 / Programme 8: A: American Mutoscope 1896


Introduce Céline Ruivo
♪ Grand piano John Sweeney
There are no intertitles in the films.
Cinema Lumiere – Sala Officinema/Mastroianni, 29 June 2016

Bryony Dixon introduces the BFI National Archive’s forthcoming Victorian film project. The aim is to restore large format films from 60 mm and 68 mm originals using new combinations of photochemical and digital technique as well as to digitise more than 500 British films made between 1895 and 1901. The project raises questions about duplication of archival work – some of the large format films were previously the object of an ambitious European restoration programme led by the Netherlands Filmmuseum, now EYE. It’s also about public engagement in the changing world of digital programming, how can we best present the material, to excite, educate and entertain?

Luke McKernan (Bologna catalog): "Amid the welter of projectors with extravagant names that competed for the public’s attention in the very first years of cinema, the Biograph, developed by Herman Casler, had established itself as a product above the others, with a sharper, steadier, and far larger screen image than any of its competitors, a true source of wonder in all who saw it. The key to this success was the unperforated film of approximately 68 mm width that the Biograph projector used. The American Mutoscope Company (the Mutoscope being the flip-card viewer that employed the same images, and inspired the invention of the Biograph) generated several European Biograph companies in 1897 when expanding into Europe."

"Approximately 300 original Biograph films dating 1896-1903 are held by the BFI (National Film and Television Archive) and EYE Filmmuseum (then Nederlands Filmmuseum); these two collections were restored at the end of the last century in a major project, resulting in projectable 35 mm prints. Even in their reduced, 35 mm form, these films show why journalist R.H. Mere called his article in “Pearson’s Magazine” of February 1899 The Wonders of the Biograph. Such films, in their size, clarity, and super-reality, were the wonders of their age. They are no less wondrous now."
Luke McKernan

Stable on Fire
William K. L. Dickson, Massachusetts, US 1896


American Falls, Luna Island
Cascate del Niagara, US 1896 - Niagara Falls.


Shooting the Chutes
William K. L. Dickson [?], New York, US 1896. - Coney Island.


A Hard Wash
William K. L. Dickson, New York, US 1896. - AA: A nasty racist joke.

Dancing Darkies
New York, US 1896. - AA: Five black dancers against a white background.


View on Boulevard, New York City
New York, US 1896. - AA: A wonderful display of deep focus: there are five layers of action in depth.


Wrestling Pony and Man
US 1896


Ten Inch Disappearing Carriage Gun Loading and Firing
New Jersey, US 1897


Empire State Express
New Jersey, US 1896. - AA: The train comes towards us on a railroad construction site.

35 mm. Da: EYE Filmmuseum

AA: The American Mutoscope and Biograph 68 mm films can be visually extraordinary as Luke McKernan states above. They moved via friction feed, not via sprocket feed. This show was screened at 25 fps; some sources say the original speed was 30 fps. The 35 mm prints screened today looked okay but not spectacular. I have seen more magnificent-looking prints of these early large gauge films, but they were of later productions.

The American Mutoscope Company had been established in December 1895. In 1898 its name was changed to American Mutoscope and Biograph Company. In 1909-1928 it was called the Biograph Company.

The Scot William K. L. Dickson (1860-1935) was a great inventor of the cinema, working for Edison since 1883, seminal in the Kinetoscope (1889), 35 mm cinema film and the perforation system. In April 1895 Dickson left Edison and teamed with the Latham brothers, and they mounted the first commercial movie screening on 20 May 1895. Dickson was a key partner in founding the American Mutoscope Company. In the summer of 1896 the superior Biograph projector was launched.

Broadway (1929) (2016 print from Universal Pictures)



Salaperäinen Broadway. US 1929. D: Paul Fejos. Based on: dall’omonimo musical di Philip Dunning e George Abbott. SC: Edward T. Lowe, Jr., Charles Furthman. Cinematography: Hal Mohr, Frank H. Booth. ED: Robert Carlisle, Edward L. Cahn, Maurice Pivar. AD: Charles D. Hall. M: Howard Jackson. C: Glenn Tryon (Roy Lane), Evelyn Brent (Pearl), Merna Kennedy (Billie Moore), Thomas Jackson (Dan McCorn), Robert Ellis (Steve Crandall), Leslie Fenton (‘Scar’ Edwards). P: Carl Laemmle Jr. per Universal Pictures Corp. 35 mm. 104′. B&w .
    This new print of Broadway has been crisply reproduced from the original black and white camera negative. And the two-minute Technicolor finale – previously only available in muddy, muted copies – has been digitally restored by Universal from the best surviving color elements at the Magyar Nemzeti Digitális Archívum és Filmintézet (MaNDA)
    Print from Universal Pictures
    Il Cinema Ritrovato, Bologna.
    Universal Pictures: The Laemmle Junior Years
    E-subtitles in Italian by Sub-Ti Londra
    Cinema Jolly, 29 June 2016

James Layton and David Pierce (Bologna catalog): "George Abbott and Philip Dunning’s Broadway first made a splash as a hit stage play in 1926, running 603 performances on Broadway, and winning praise for its contemporary street slang and realistic underworld atmosphere. Sensing a prime vehicle for the new medium of sound film, Universal boss Carl Laemmle soon scooped up the rights for $225,000. Following their critical and artistic triumph with Lonesome (1928), producer Carl Laemmle Jr. and director Paul Fejos were entrusted to bring this hot stage property to the screen as Universal’s second all-talkie. But Fejos recognized that the dialogue-driven drama about a song and dance man hoping to hit the big time possessed none of the scope or scale required for a major Universal release, so he expanded the film to include sequences in the nightclub and cabaret musical numbers."

"Art director Charles D. ‘Danny’ Hall designed a colorful, Cubist-inspired set for the Paradise Night Club that was constructed on Universal’s largest sound stage. And the final sequence of the film was enhanced with two-color Technicolor. To further enliven the cabaret scenes Fejos and cinematographer Hal Mohr commissioned a sophisticated mobile camera platform, called the Broadway crane. Constructed for $50,000, and measuring 25-feet long, this 28-ton engineering marvel could move smoothly and rapidly in any direction to capture shots from any height or perspective. To get a return on its investment, the costly crane was reused repeatedly by Universal over the following years, notably on All Quiet on the Western Front and King of Jazz. Broadway’s final production cost was an enormous $1.5 million, and despite some strong reviews, it failed with audiences, who were no longer impressed with the once novel backstage drama elements."
– James Layton and David Pierce

AA: I only saw the first 60 minutes of Broadway because of an overlap with an Anno uno screening. Broadway has for a long time been available only in incomplete versions. Now it has been brilliantly reconstructed, complete with the colour sequence. It is a big treat for lovers of the musical and gangster genres.

Like Chicago (1927, P: Cecil B. DeMille, D: Frank Urson), Broadway is based on a popular play about the gangster world (from the same year 1926 as Chicago), and unlike it, it is also a musical, based on the first hit musical play by George Abbott. Universal's second all-talking film belongs to the foundation works of the genres of the gangster film and the film musical. We are starting to move from the sophisticated jazz age style to the more brutal and cynical depression age approach. We hear early instances of the wisecracking dialogue of those genres. "This show isn't bad, it's lousy". "Lay off those big sugar daddies, they're only after one thing". "You've been cutting on my territory". What the band leader thinks he has is: "per -so - na - li - ty".

In this early sound film the pronunciation is often deliberate and slowed down. But visually it's swinging thanks to Paul Fejos's amazing "Broadway crane", used not least in the "Hittin' the Ceiling" production number. The production numbers are wonderful, and the cinematography by Hal Mohr is stunning.

Broadway is another amazing piece in the Paul Fejos jigsaw puzzle. The more I see of his films the more impossible it seems to define him. How could the same director be in charge of The Last Performance, Lonesome, Fantômas (1932 version), Tavaszi zápor, Ítél a Balaton, Skönhetssalong på Madagaskar, Draken på Komodo... and Broadway?! "A Flying Hungarian" truly, not only through continents but also through genres, from horror, gangster, super criminal and musical films to modern city romance and traditional rural romance, and, not least, the documentary.

Of the first 60 minutes I saw I observed that the print is based on sometimes challenging source materials, but the visual quality is usually stunning. I missed the colour finale.

Tuesday, June 28, 2016

H. C. Andersen: The Story of a Mother


H. C. Andersen's "The Story of a Mother" was admired, among others, by Vincent van Gogh and Fritz Lang who found inspiration from it for Der müde Tod.

A MOTHER sat by her little child: she was very sorrowful, and feared that it would die. Its little face was pale, and its eyes were closed. The child drew its breath with difficulty, and sometimes so deeply as if it were sighing; and then the mother looked more sorrowfully than before on the little creature.

Then there was a knock at the door, and a poor old man came in, wrapped up in something that looked like a great horse-cloth, for that keeps warm; and he required it, for it was cold winter. "Without, everything was covered with ice and snow, and the wind blew so sharply that it cut one's face.

And as the old man trembled with cold, and the child was quiet for a moment, the mother went and put some beer on the stove in a little pot, to warm it for him. The old man sat down and rocked the cradle, and the mother seated herself on an old chair by him, looked at her sick child that drew its breath so painfully, and seized the little hand.

"You think I shall keep it, do you not?" she asked. "The good God will not take it from me!"

And the old man -- he was Death -- nodded in such a strange way, that it might just as well mean yes as no. And the mother cast down her eyes, and tears rolled down her cheeks. Her head became heavy: for three days and three nights she had not closed her eyes; and now she slept, hut only for a minute; then she started up and shivered with cold.

"What is that?" she asked, and looked round on all sides; but the old man was gone, and her little child was gone; he had taken it with him. And there in the corner the old clock was humming and whirring; the heavy leaden weight ran down to the floor -- plump! -- and the clock stopped.
But the poor mother rushed out of the house crying for her child.

Out in the snow sat a woman in long black garments, and she said, "Death has been with you in your room; I saw him hasten away with your child: he strides faster than the wind, and never brings back what he has taken away."

"Only tell me which way he has gone," said the mother. "Tell me the way, and I will find him."

"I know him," said the woman in the black garments: "but before I tell you, you must sing me all the songs that you have sung to your child. I love those songs; I have heard them before. I am Night, and I saw your tears when you sang them."

"I will sing them all, all!" said the mother. "But do not detain me, that I may overtake him, and find my child."

But Night sat dumb and still. Then the mother wrung her hands, and sang and wept. And there were many songs, but yet more tears, and then Night said, "Go to the right into the dark fir wood; for I saw Death take that path with your little child."

Deep in the forest there was across road, and she did not know which way to take. There stood a Blackthorn Bush, with not a leaf nor a blossom upon it; for it was in the cold winter-time, and icicles hung from the twigs.

"Have you not seen Death go by, with my little child?"

"Yes," replied the Bush, "but I shall not tell you which way he went unless you warm me on your bosom. I'm freezing to death here, I'm turning to ice."

And she pressed the Blackthorn Bush to her bosom, quite close, that it might be well warmed. And the thorns pierced into her flesh, and her blood oozed out in great drops. But the Blackthorn shot out fresh green leaves, and blossomed in the dark winter night: so warm is the heart of a sorrowing mother! And the Blackthorn Bush told her the way that she should go.

Then she came to a great Lake, on which there were neither ships nor boat. The Lake was not frozen enough to carry her, nor sufficiently open to allow her to wade through, and yet she must cross it if she was to find her child. Then she laid herself down to drink the Lake; and that was impossible for any one to do. But the sorrowing mother thought that perhaps a miracle might be wrought.

"No, that can never succeed," said the Lake. "Let us rather see how we can agree. I'm fond of collecting pearls, and your eyes are the two clearest I have ever seen: if you will weep them out into me I will carry you over into the great green-house, where Death lives and cultivates flowers and trees; each of these is a human life."

On the other side of the lake stood a wonderful house,- it was Death's large hot-house.

"Oh, what would I not give to get my child!" said the afflicted mother; and she wept yet more, and her eyes fell into the depths of the lake, and became two costly pearls. But the lake lifted her up, as if she sat in a swing, and she was wafted to the opposite shore, where stood a wonderful house, miles in length. One could not tell if it was a mountain containing forests and caves, or a place that had been built. But the poor mother could not see it, for she had wept her eyes out.

"Where shall I find Death, who went away with my little child?" she asked.

"He has not arrived here yet," said an old grey-haired woman, who was going about and watching the hothouse of Death. "How have you found your way here, and who helped you?"

"The good God has helped me," she replied. "He is merciful, and you will be merciful too. Where shall I find my little child?"

"I do not know it," said the old woman, "and you cannot see. Many flowers and trees have faded this night, and death will soon come and transplant them. You know very well that every human being has his tree of life, or his flower of life, just as each is arranged. They look like other plants, but their hearts beat. Children's hearts can beat too. Think of this. Perhaps you may recognize the beating of your child's heart. But what will you give me if I tell you what more you must do?"

"I have nothing more to give," said the afflicted mother. "But I will go for you to the ends of the earth."

"I have nothing for you to do there," said the old woman, "but you can give me your long black hair. You must know yourself that it is beautiful, and it pleases me. You can take my white hair for it, and that is always something."

"Do you ask for nothing more?" asked she. "I will give you that gladly." And she gave her beautiful hair, and received in exchange the old woman's white hair.

And then they went into the great hothouse of death, where flowers and trees were growing marvelously intertwined. There stood the fine hyacinths under glass bells, some quite fresh, others somewhat sickly; water snakes were twining about them, and black crabs clung tightly to the stalks. There stood gallant palm trees, oaks, and plantains, and parsley and blooming thyme. Each tree and flower had its name; each was a human life: the people were still alive, one in China, another in Greenland, scattered about in the world. There were great trees thrust into little pots, so that they stood quite crowded, and were nearly bursting the pots; there was also many a little weakly flower in rich earth, with moss round about it, cared for and tended. But the sorrowful mother bent down over all the smallest plants, and heard the human heart beating in each, and out of millions she recognized that of her child.

"That is it!" she cried, and stretched out her hands over a little crocus flower, which hung down quite sick and pale, "Do not touch the flower," said the old dame; "but place yourself here; and when Death comes I expect him every minute then don't let him pull up the plant, but threaten him that you will do the same to the other plants; then he'll be frightened. He has to account for them all; not one may be pulled up till he receives commission from Heaven."

And all at once there was an icy cold rush through the hall, and the blind mother felt that Death was arriving.

"How did you find your way hither?" said he. "How have you been able to come quicker than I?"

"I am a mother," she answered.

And Death stretched out his long hands towards the little delicate flower; but she kept her hands tight about it, and held it fast; and yet she was full of anxious care lest he should touch one of the leaves. Then Death breathed upon her hands, and she felt that his breath was colder than the icy wind; and her hands sank down powerless.

"You can do nothing against me," said Death.

"But the merciful God can," she replied.

"I only do what He commands," said Death. " I am His gardener. I take all His trees and flowers, and transplant them into the great Paradise gardens, in the unknown land. But how they will flourish there, and how it is there, I may not tell you."

"Give me back my child," said the mother; and she implored and wept. All at once she grasped two pretty flowers with her two hands, and called to Death, "I'll tear off all your flowers, for I am in despair."

"Give me back my child," said the Mother, weeping.

"Do not touch them," said Death. "You say you are so unhappy, and now you would make another mother just as unhappy!"

"Another mother?" said the poor woman; and she let the flowers go.

"There are your eyes for you," said Death. "I have fished them up out of the lake; they gleamed up quite brightly. I did not know that they were yours. Take them back they are clearer now than before and then look down into the deep well close by. I will tell you the names of the two flowers you wanted to pull up, and you will see what you were about to frustrate and destroy."

And she looked down into the well, and it was a happiness to see how one of them became a blessing to the world, how much joy and gladness she diffused around her. And the woman looked at the life of the other, and it was made up of care and poverty, misery and woe.

"Both are the will of God," said Death.

"Which of them is the flower of misfortune, and which the blessed one?" she asked.

"That I may not tell you," answered Death; "but this much you shall hear, that one of these two flowers is that of your child. It was the fate of your child that you saw the future of your own child."
Then the mother screamed aloud for terror.

"Which of them belongs to my child? Tell me that! Release the innocent child! Let my child free from all that misery! Rather carry it away! Carry it into God's kingdom! Forget my tears, forget my entreaties, and all that I have done!"

"I do not understand you," said Death. "Will you have your child back, or shall I carry it to that place that you know not?"

Then the mother wrung her hands, and fell on her knees, and prayed to the good God.

"Hear me not when I pray against Thy will, which is at all times the best! Hear me not! hear me not!"

And she let her head sink down on her bosom.

And Death went away with her child into the unknown land.

H. C. Andersen: "Historien om en moder" (1847). Copied from: Encyclopedian Library. http://hans-christian-andersens.blogspot.fi/

Der müde Tod / Destiny (2016 digital restoration by FWMS)

 
Der müde Tod. The stranger (Bernhard Goetzke) stops the carriage carrying the young lovers (Lil Dagover, Walter Janssen). Photo: Filmportal. Quelle: SDK.

Der müde Tod. A sample of the 2016 tinting. Photo: FWMS.

Der müde Tod. Ein deutsches Volkslied in 6 Versen / Väsynyt kuolema / Den obesegrade döden / Destino / Les trois lumières. DE 1921. D: Fritz Lang. Story+SC: Thea von Harbou (n.c.), Fritz Lang. Cinematography: Erich Nitzschmann, Hermann Saalfrank, Fritz Arno Wagner. AD: Walter Röhrig, Hermann Warm, Robert Herlth.
    C: Lil Dagover (la giovane donna, Zobeide, Monna Fiammetta, Tiao Tsien), Walter Janssen (lo sposo, Frank, Giovanfrancesco, Liang), Bernhard Goetzke (la Morte, El Mot, l’arciere), Rudolf Klein-Rogge (Girolamo, il Derviscio), Hans Sternberg (il sindaco), Max Adalbert (il notaio, il tesoriere), Wilhelm Diegelmann (il medico), Karl Platen (il farmacista), Erich Pabst (l’insegnante). P: Erich Pommer per Decla-Bioscop AG.
    DCP with English subtitles. Tinted. 93 min
    Inspired by "Historien om en moder" / "The Story of a Mother" (1847) by H. C. Andersen. Fritz Lang's mother had recently died, and Der müde Tod emerged from a memory of a childhood fever dream. Lang never forgot how his mother had saved him from the brink of death during the illness.
    Restored in 2K by Friedrich-Wilhelm-Murnau-Stiftung (FWMS) with the support of Bertelsmann, and with funds from the digitisation initiative by the Beauftragte der Bundesregierung für Kultur und Medien, and through the support of the development association Freunde und Förderer des deutschen Filmerbes e.V. at L’Immagine Ritrovata laboratory. The material basis used for the digital restoration of the film is a 35 mm b&w duplicate negative from MoMA. Individual shots were taken from a black-and-white copy from Cinémathèque de Toulouse. The lost film tints of individual scenes were simulated using contemporary distribution copies from other Decla productions from the same period.
    DCP from FWMS.
    Tinted and b&w.
    Il Cinema Ritrovato, Bologna.
    Introduce Ernst Szebedits (Murnau Stiftung)
    Ritrovati e restaurati
    ♪ Grand piano Stephen Horne, percussions Frank Bockius
    Cinema Lumiere – Sala Officinema/Mastroianni, 28 June 2016


Tom Gunning quoted in Bologna catalog: "Der müde Tod (The Weary Death) offers the most elegant convergence between the Destiny-machine and the film’s narrative structure. […] Der müde Tod remains also one of the most perfectly crafted films of the Weimar cinema, perhaps the most beautiful of the Märchen films based on folk and fairy tales. […] In the film’s intertitles and ‘naive’ characterisation Lang and Harbou invoke the style of a popular tale, with its simplicity of psychology, its materialisation of metaphysical figures and the tale’s aspiration to deliver wisdom about the antinomies of life, the intertwining of love and death. But concealed within its self-conscious invocation of an oral tradition of tale-telling Der müde Tod offers a complex meditation on cinematic narrative. The story stands as one of scenarist Harbou’s most poetic inventions. […] The simplicity and symmetry of the tale cannot obscure its powerful meditation on the nature of story-telling. As a tale, we watch this film unfold, aware that it is being told, our attention drawn to its structuring devices and to such extra-diegetic processes as casting and scripting. The film’s division into six single reel ‘verses’ draws the viewer’s attention to the film as a crafted piece of story-telling. […] Lang/Harbou also provide a series of relays between the tales through repetition. The similar narrative structure in each tale of love crushed by tyrants cues the viewer to see them as variants of a single plot, and establishes the film’s sense of fatality through repetition of the same story dynamics and identical endings. Each story moves towards its resolution implacably, like destiny. The end of each story is death, as the appearance of Goetzke signals the closure of each tale, Death becoming a figure of fate because it represents the inevitable ending. Story-telling, therefore, provides a perfect image of the struggle against, and surrender to, death, which is destiny. In Der müde Tod the story serves as a perfect image for the Destiny-machine, the system whose ending is always the same. And that’s why Death is weary." – Tom Gunning, The Films of Fritz Lang. Allegories of Vision and Modernity, BFI Publishing, London 2000





Der müde Tod. The wall of the garden of death. The chamber of candles, each representing a life. The stairway. These colours are not from the 2016 restoration. Photos: 100 Years of Movies website, 20 December, 2010.

AA: Fritz Lang's first masterpiece Der müde Tod, also known as Destiny and Les trois lumières, is one of the most influential films of all time. It inspired Luis Buñuel, Jean Cocteau, and Georges Franju to become film-makers. We can sense its impact many decades afterwards in Belle de jour, Orphée, and Les Yeux sans visage.

Fritz Lang was also an inspiration for Alfred Hitchcock, and Der müde Tod is the most uniquely personal work for Lang like Vertigo would be for Hitchcock. Both are about Liebestod. Lang even quotes The Song of Songs, about love being as strong as death.

Der müde Tod has been my number one candidate for the film I would once want to see in a good print. I have formed my opinion of the film based on 16 mm prints and by the Munich restoration which has been the best we have had (I wrote blog remarks of my last viewing of the Munich version of Der müde Tod in 2010). Much of the Munich print was in low contrast, but from brilliant passages of the Venetian episode it was possible to deduce the general visual quality. Also from the film's striking stills it was possible to understand its original frisson. There is a fine gallery of Der müde Tod stills at the Filmportal site.

As for colour, from my friend Matti Piuhola I learned that there had survived in Finland until the 1950s a vintage colour print of Der müde Tod. The film had been highly admired, and the colour had also been appreciated as truly special, with toning, tinting, and fantastic colour effects.

When I rushed to Sala Mastroianni after the screening of The Scarlet Cloak at Cinema Jolly the cinema was already full, and there was standing room only. I stood gladly "in standing ovation" to Fritz Lang's masterpiece during the entire screening but was not able to take notes. Der müde Tod was for me the highlight and centerpiece of this year's Il Cinema Ritrovato. Standing in the overcrowded cinema reminded me of another highlight in similar circumstances, watching the world premiere of Alexander Askoldov's The Commissar, shelved for decades and believed lost, in a special screening at Dom Kino at the Moscow Film Festival in 1987.

The vision of the zone between life and death in the framing story is laconic and powerful. Thanks to it Der müde Tod is a key film of le fantastique in the sense of Tzvetan Todorov. It has an intriguing affinity with Victor Sjöström's The Phantom Carriage (1921) which had had its premiere ten months earlier - on New Year's Day. An interior affinity.

The episodes of "the three lights" are inspired and playful. In the closing part of the framing story the film gets more serious and simultaneously more humoristic (the desperate people with whom Lil Dagover proposes to exchange "life for life" are not that desperate, after all). In the final moments the film ascends to the sublime.

The job of reconstruction and restoration is of the highest quality. The FWMS team has done the best possible job from the sources available. I like the black and white passages of the digital cinema package.

My only regret is about the tinting which is so heavy that I would welcome an all black and white alternative (the solution FWMS chose for Metropolis). I know that the film was released in colour but I think it is impossible to reconstruct the original fantastic glow of the colour on a first generation nitrate print.

Watching vintage toned and tinted nitrate with bare eyes or through a magnifying glass the colour appears much heavier than when projected. When one consults vintage nitrate for reference one should project it to see how it truly looks.

Heavy modern tinting in digital takes the sting away from Fritz Lang's images.

Akai jinbaori / The Scarlet Cloak (2007 print from Shochiku)



赤い陣羽織 / [Il mantello scarlatto]. JP 1958. D: Satsuo Yamamoto. Based on: da una pièce di Junji Kinoshita. SC: Hajime Takaiwa. Cinematography: Minoru Maeda. AD: Kazuo Kubo. M: Masao Ooki. C: Kanzaburo Nakamura the 17th (Gentazaemon Araki), Kyoko Kagawa (Shino Araki), Yunosuke Ito (Jinbei, il custode del mulino), Ineko Arima (Sen, moglie di Jinbei), Masao Mishima (Uemon), Shobun Inoue (Tota), Jun Tatara (Taneomi), Ton Shimada (Kurosuke). P: Shochiku. [The film was not released in Finland]. 35 mm. Col. 94 min
    This print was struck in 2007 from 35 mm dupe negatives preserved by Shochiku, transferred from the original three-strip Konicolor negatives
    Scope
    Print from National Film Center, Tokyo per concessione di Shochiku
    Il Cinema Ritrovato, Bologna
    Richness and Harmony. Colour Film in Japan (part two)
    English subtitles on the print, e-subtitles in Italian by Sub-Ti Londra
    Cinema Jolly, 28 June 2016

Alexander Jacoby, Johan Nordström (Bologna catalog): "This comic jidai-geki (period film), shot in the Japanese colour process Konicolor and boasting both humour and politically charged satire, features the debut film performance of legendary Kabuki actor Kanzaburo Nakamura the 17th (1909–1988), in the lead role as an Edo-period magistrate who falls in love with and tries to seduce the beautiful wife of the local miller during a certain nighttime village festival, when according to custom, so-called yobai (‘night-crawling’, i.e. wife swapping), is legally permissible as long as the festival drum is beating. Ineko Arima, who plays the wife, had been a star of the Takarazuka all-girl theatre troupe and would win cinematic recognition for her work in Yasujiro Ozu’s Tokyo boshoku (Tokyo Twilight, 1957) and Higanbana (Equinox Flower, 1958), and in Masaki Kobayashi’s Ningen no joken (The Human Condition, 1958–61)."

"Hailed on release by the “Kinema Junpo” reviewer as a treasure of Japanese cinema, the film is based on a stage play by Junji Kinoshita (1914–2006), a leading twentieth-century Japanese playwright as well as a respected translator of Shakespeare’s plays into Japanese. The play was itself inspired by a foreign novel, El sombrero de tres picos (The Three-Cornered Hat, 1874), by Pedro Antonio de Alarcón y Ariza (1833–1891), which had also been adapted into a classic ballet by Manuel de Falla. Kinoshita’s other works ranged from plays inspired by traditional folk tales to sociopolitical commentary, including a theatrical response to the Tokyo war crimes trials and a dramatisation of the life of German-born Soviet spy Richard Sorge, executed in Japan in 1944."

"The source material’s comic take on feudal class distinctions was well suited to director Satsuo Yamamoto (1910–1985), a left-wing director long affiliated with the Japanese Communist Party. Many of his films were independently produced, with a didactic sociopolitical focus: among them, Pen itsuwarazu: Boryokugai no machi (Street of Violence, 1950) depicted a crusading journalist’s campaign against organized crime; Shinku chitai (Vacuum Zone, 1952) was a savage indictment of the brutality of the Japanese army; and Taifu sodoki (Trouble about a Typhoon, 1956) was a witty and revealing satire about small-scale political corruption. Even Yamamoto’s more commercial films, made mainly under contract at Daiei, included such socially aware works as Akai mizu (Red Water, 1963), another satire on smalltown politics, and Shiroi kyoto (The Ivory Tower, 1966) an indictment of Japanese medical ethics." – Alexander Jacoby, Johan Nordström

AA: This stylized period farce belongs to the universal tradition of folk tales of the contes drolatiques variety. In this case the plot is directly based on the Spanish novel El sombrero de tres picos, also known as Manuel de Falla's ballet originally called The Magistrate and the Miller's Wife (El corregidor y la molinera), later El sombrero de tres picos (in Finnish: Kolmikolkkahattu). The magistrate wants to share quality time with the miller's beautiful wife, but the tables are turned as the magistrate loses his scarlet cloak, and the miller dressed in it gets to share quality time with the magistrate's wife, instead.

The male characters are such complete buffoons that it is hard to relate to the story from their viewpoint. Instead, the female characters are beautiful and ingenious. They use their charm and wit to survive in potentially offensive situations of oppression and humiliation.

The yobai night is the Japanese contribution to the Spanish novel. The night of celebration starts with a miracle play. In the darkness of the night men and women can express their desires for strangers freely, and the sound of a huge drum is a signal to go all the way. The extended drumming is a symbol for intercourse.

There is an affinity in the tale also with Gogol's The Overcoat and Zuckmayer's The Captain of Köpenick. The community is in such awe of the scarlet cloak that they fail to recognize that the person inside has been switched.

To sum up, this is a strong story with fine female performances, but the approach to the farce seems clumsy and heavy-handed to me.

A fine job of recreating the Konicolor palette. The print is soft or the projection was out of focus.

Back Street (1932)


Back Street: Ray Schmidt (Irene Dunne) and Walter Saxel (John Boles)

La donna proibita. US 1932. D: John M. Stahl. Based on: dal romanzo omonimo (1931) di Fannie Hurst. SC: Gladys Lehman. Cinematography: Karl Freund. ED: Milton Carruth, Maurice Pivar. AD: Charles D. Hall. C: Irene Dunne (Ray Schmidt), John Boles (Walter Saxel), George Meeker (Kurt Shendler), ZaSu Pitts (Mrs. Dole), June Clyde (Freda Schmidt). P: Carl Laemmle Jr. per Universal Pictures Corp. [The film was not released in Finland]. 35 mm. 92′. B&w.
    US © 1932 Universal Pictures
    Print from Universal Pictures
    Il Cinema Ritrovato, Bologna
    Universal Pictures: The Laemmle Junior Years
    E-subtitles in Italian by Sub-Ti Londra
    Cinema Jolly, 28 June 2016

Dave Kehr (Bologna catalog): "John Stahl’s 1932 film was the first of three adaptations of Fannie Hurst’s bestselling novel produced by Universal, and remains by far the most graceful and moving. As Jacques Lourcelles noted in his Dictionnaire du cinéma, “Just as the characters are trapped in a single situation they will never escape during their lifetime, so is the spectator slowly overtaken by a melancholy that becomes sadness, a sadness that becomes hopelessness, emerging from the melodic uniformity of the style”. Irene Dunne, still in the ingénue phase of her career, stars as a young woman in the Midwestern city of Cincinnati in 1890, who declines the proposal of a promising young businessman (a Henry Ford figure played by Universal regular George Meeker) because of her hopeless love for a married financier (John Boles). Because divorce is unthinkable in 19th century America, she agrees to become his mistress, leading to a lifetime of ‘back street’ meetings and unfulfilled yearnings. For Stahl, this was the middle panel in a trilogy (between Seed and Only Yesterday) about the moral hypocrisy of American divorce laws, a subject that did not sit well with the censors. When Universal attempted to reissue the film in 1938, after the establishment of the Production Code, censor-in-chief Joseph Breen refused approval, noting the film “has become a symbol of the wrong kind of picture”." – Dave Kehr

AA: I saw for the first time Back Street, John M. Stahl's masterpiece based on Fannie Hurst's bestselling novel whose impact at the time was so overwhelming that it coined the expression "back street" to mean the situation of "the other woman". Back Street is now my favourite John M. Stahl film, and I prefer it to his Only Yesterday, Imitation of Life, and Magnificent Obsession.

I have not seen the other, reportedly much tamer, film adaptations of Back Street, but I know Frank Capra's unofficial interpretation of the same basic story, Forbidden, made in the same year, starring Barbara Stanwyck, and gaining intensity from the fact of being also a film à clef about the profound Capra-Stanwyck relationship.

Stahl's Back Street is a Pre-Code film. It was withdrawn from circulation after 1934 due to the rigorous enforcement of the Production Code. It has never been shown in Finland which had its own stern self-control office of the film industry enforcing a set of standards perhaps inspired by the Production Code.

I have not read the novel Back Street nor other works by Fannie Hurst, one of the most popular authors of the 20th century. She has never been translated into Finnish. I'm aware of the fact that "Fannie Hurst" is almost a symbol for literature which is supposedly not very distinguished, but personally I respect the unconventional writer who was ahead of her time in many ways, championing women's rights, modern marriage (even known as "a Fannie Hurst marriage" before Sartre & de Beauvoir), equal opportunity, the working people, racial justice and freedom in sexual orientation. In a popular song she appears as anti-Tolstoy, but I believe that Tolstoy would have admired her.

Before Back Street there had already been many Fannie Hurst film adaptations, most prominently Humoresque (1920), which, directed by Frank Borzage, launched the great wave of films relevant to the American Jewish experience in the 1920s, culminating in The Jazz Singer. Even Frank Capra had directed one of those films, The Younger Generation, also based on a Fannie Hurst story.

The great wave of Jewish themes in American cinema ended with the silent era. In Back Street the novel the male protagonist is a Jewish businessman, and the secret love affair takes place between the rich Jew and a poor Gentile woman, but in the film adaptation there is no Jewish aspect.

Another essential change to the novel (based on what I have read about it) is the conclusion. Reportedly the most powerful part of the novel is the account of the woman's downfall after the death of the businessman for whom she has sacrificed everything. In the film the woman dies of heartbreak soon after the man's death.

Back Street is known as a romance novel, and the film adaptation may sometimes be classified as melodrama, but I would hesitate to use that term. I would called Back Street simply a tragic love story. The story is certainly heartbreaking, but the approach of John M. Stahl is based on tenderness and tact. There were tears in my eyes when the film ended, yet not due to melodramatic excess but good taste and discretion. Less is more in Stahl's approach.

Back Street is a film of constant surprises, of which the consistent display of restraint instead of emphasis is the greatest. The story itself is always unpredictable. Ray Schmidt (Irene Dunne) could in several turning-points choose otherwise. In the middle of the film she is finally about to marry the businessman Kurt Shendler (George Meeker), who in the beginning seemed a clumsy and idealistic automobile wizard, but is now successful in the rapidly booming industry. Then Walter Saxel (John Boles) comes along once again to fetch her.

Ray is a bright and reasonable woman. In the beginning she remarks that "many think they can have me without marrying" but "it's all the way or zero with me". In a memorable scene with a girlfriend at a later stage Ray advises her that "there is no happiness on a back street in anyone's life". Yet she proceeds to do exactly what she has warned against. Back Street is a story of un amour fou. What happens between Ray and Walter is absolutely crazy, with the crucial difference that Walter is also able to conduct a fully normal public life, a main street life with a career, family, children, and a social network. For Ray there remains only the secret life, the back street, a solitude when Walter is away.

One of the final surprises takes place during the final trip to Paris. Walter's children have grown up and they see through Walter's arrangement with the strange woman who always accompanies him at a distance. Walter's son Dick meets Ray in private to condemn her but Walter appears too, defending Ray and their love affair as the best thing in their lives, and he asks his son to "mind his own business and get out". At night Walter dies of a stroke, and his last wish is to hear Ray's voice on the telephone. Dick now realizes how much his father had loved Ray. Dick had believed Ray to be a gold-digger, and he is appalled to learn how measly the sum was that Walter had given Ray to support her.

The film is carried by Irene Dunne's extraordinary performance. Her film career had started but two years ago, but in this performance she has already a mature approach of great charm, sophistication, and complexity. It occurred to me also that Love Affair (1939) can be seen as a virtual sequel to Back Street, the story of two people living on their respective back streets meeting each other by chance at an ocean liner, with a chance of mutual love transcending and saving their lives.

A brilliant print.

Monday, June 27, 2016

Die letzte Chance / The Last Chance (2016 digital restoration by Cinémathèque suisse and Schweizer Radio und Fernsehen)



Viimeinen tilaisuus / Den sista chansen / L’ultima speranza. CH 1945. D: Leopold Lindtberg, SC: Richard Schweizer, Elizabeth Montagu. Cinematography: Emil Berna. ED: Hermann Haller. M: Robert Blum. C: Ewart G. Morrison, John Hoy, Ray Reagan, Luisa Rossi, Giuseppe Galeati, Romano Calò. P: Lazar Wechsler per Praesens Films Zurich. In English, German, Italian and Yiddish. B&w. 113 min
    Restored by Cinémathèque suisse and Schweizer Radio und Fernsehen with the support of Memoriav at Hiventy laboratory, from a nitrate interpositive and from a fragment of a shot from an earlier internegative.
    Restoration team: Carole Delessert, Caroline Fournier, and Michel Dind
    Il Cinema Ritrovato, Bologna
    DCP from Cinémathèque suisse with English subtitles by Sabine Lenz
    Introduce Frédéric Maire (Cinémateque Suisse), presented by Gian Luca Farinelli
    Ritrovati e restaurati
    E-subtitles in Italian by Sub-Ti Londra.
    Cinema Jolly, 27 June 2016


Bologna catalog (n.c): "“Die letzte Chance deserves its place as a classic among prominent postwar films” (Hervé Dumont). Coming a year after Marie-Louise, it marks a new oeuvre for Leopold Lindtberg: a deeply humanist film on the theme of war refugees in Switzerland."

"When it decided to portray the situation of refugees, Praesens Film immediately encountered numerous difficulties with the federal government, which was not really in favour of a work potentially critical of its position. The connections of the filmmakers – director Leopold Lindtberg and screenwriter Richard Schweizer in particular – with the Schauspielhaus, considered to be a ‘den of refugees’ with communist connections, encouraged the government to regard the project with utmost suspicion. On several occasions the army complicated the shoot, forbidding access to certain planned locations and refusing to grant authorisation to film. Once the film was finished, every effort was made to delay its release, at least until the end of the war. Certain Germanophile members of the military even demanded the destruction of the negative. To obtain its release, the producers had to accept that a scene be shortened. Still, Richard Schweizer’s screenplay was the fruit of long conversations and investigations, even if, according to director Leopold Lindtberg: “The story of this film is a harmless fairytale compared to the real facts. […] It is not a film for those who have known misfortune, but for all the others – the happy, the spared – that it might encourage them to think”."

"Die letzte Chance met with major international success. It won a Grand Prix at Cannes in 1946, where the jury of the National Union of Intellectuals, presided by Paul Éluard, awarded it the International Peace Award. Distributed by MGM in the United States, it won a Golden Globe. Georges Sadoul and Henri Langlois, and filmmakers Jean Grémillon, Alberto Lattuada, Luigi Comencini and Alfred Hitchcock in particular sang the praises of the film, which rigorously presents the vicissitudes of war and persecution."
(n. c.)


AA: Leopold Lindtberg's masterpiece The Last Chance is a key Holocaust movie, and one of the extremely rare ones that were shot in Europe during the Holocaust itself. The principal production took place in 1944, and the Zürich premiere was on 26 May 1945. The Last Chance is a fiction film, but the protagonists are actual soldiers and refugees playing roles not far from their real identities and experiences. Even the director Lindtberg and his regular screenwriter Richard Schweizer were refugees whose status in Switzerland was perilous although they had distinguished careers there in the theatre and the cinema. The Polish-born producer Lazar Wechsler was a Swiss citizen, firmly established in Switzerland since WWI, and his production company Praesens-Film had become the artistic and commercial stronghold of Swiss cinema. The Last Chance is a key film of Jewish experience in many ways, but that aspect is de-emphasized, as the film-makers want to express a universal concern in the same way as the makers of Night and Fog would do.

Frédéric Maire in his introduction quoted Leopold Lindtberg's remark that the story of his film is a fairy-tale compared to reality. But I think the audience got the message today from the film itself and always has. A film like this has to be about hope. We are aware that the little group of refugees rescued into Switzerland after many dangerous turns during their flight are the lucky exceptions. Such was the case since Switzerland declared that "das Boot is voll", "the ship is full". There were, however, decent people in all walks of life who practised civil disobedience and saved lives.

A firm sense of the contemporary reality is the unique distinction of The Last Chance. It was highly regarded from the start, and its value will grow as an expresssion of the first-hand sense of the refugee experience during WWII. The real feeling, the authentic expressions, and the general atmosphere are convincing, and some clumsiness and some flat dubbing do not harm fatally because there is a raw fundamental energy that conveys a sense of a devastating period.

The story is exciting. The film starts with a train being bombed and soldiers on the run hiding at farms and haystacks, narrowly escaping control patrols. There is a lyrical scene at Lago Maggiore at night when an Italian girl warns the two Allied soldiers against an escape at moonlight on the lake. But: "Tornate! Armistizio!" Yet the situation is still perilous. The soldiers embark on a freight car, ascend on a mountain, cross a bridge, and get help from a courageous priest in a mountain village near the Swiss border. Snow falls on the mountains. "Il Duce è libero": the tables turn again, and the turncoat of the village informs on everyone to the Nazis. The soldiers help refugees sheltered by the priest towards the border on the mountains. At the start at the train station they have seen something that has shattered them to the core, and they know that there will be no hope for the refugees if Nazis catch them.

In the finale The Last Chance turns into a Bergfilm. The soldiers help the tired group of refugees. Some of them have been on the run for ten years. There is a baby among them, and there is old Hillel who is exhausted. He catches a Nazi bullet and dies in the snow. Also Bernhard is shot, he who led the Nazis astray to save everybody. Even Johnny the soldier is hit. He makes it to Switzerland and refuses to go to the hospital and insists in staying with the refugees. Everyone is then taken to safety with Johnny. He has learned to understand what a concentration camp means. The film ends with Johnny's funeral and last post bugle call. The scholar among the refugees has lost all his manuscript pages about the history of the refugee question in Europe. "But I know what I want to say. Always". Still there are millions walking in Europe. There is an epic distant shot of an endless line of refugees in the snow.

A fine job of restoration from often challenging sources (the original negative does not exist). The result is always pleasant to watch, doing justice to Emil Berna's distinguished cinematography, and often the visual quality is really good.

Anno uno 7: Mexico. Gabriel Veyre (1871-1936), Lumière Operator

Baignade de chevaux

1896. Cinema anno uno – Lumière!
1896. Year One of Cinematography
Programma 7: Messico. Gabriel Veyre (1871-1936), operatore Lumière
Programme 7: Mexico. Gabriel Veyre (1871-1936), Lumière Operator


Il Cinema Ritrovato, Bologna
♪ Grand piano Antonio Coppola
Introduced by Mariann Lewinsky, Gian Luca Farinelli, and a representative of Filmoteca de la UNAM (Ciudad de México).
There are no intertitles in the films
Cinema Lumiere – Sala Officinema/Mastroianni, 27 June 2016

Mariann Lewinsky (Bologna catalog): "“Finally, it is accomplished! Since yesterday, the 15th August, we’re there. The day before yesterday we gave our first show. On that evening, dedicated to the press, we had over 1500 guests – so many that we didn’t know where to put them. The applause and cheers make us hope for a great success. Everyone was shouting: Muy bonito! How wonderful!” (letter from Gabriel Veyre to his mother, Mexico City, 16th August 1896)."

"Since 1896, the Lumière brothers had hired cameramen to promote their new invention around the world. The 25-year-old Gabriel Veyre had just obtained a diploma in pharmacy in Lyon and needed to earn money as soon as possible to support his siblings and widowed mother. His knowledge of chemistry, interest in electricity and passion for photography made him an ideal candidate."

"With the typical energy of the pioneers, he spent four years travelling the world with his Cinématographe, shooting views and organising screenings in all the capitals to extraordinary success. The trip took him above all to Latin America: Mexico, Cuba, Colombia, Panama and Venezuela. But he fell sick in Caracas and had to return to France."

"The break in Lyon was short-lived. The Lumière brothers entrusted the young operator with a new mission that took him to the Orient. In July 1898 he set sail for Canada in order to reach Japan, then China and Indochina. In Hanoi the general governor Paul Soumer commissioned an important film reportage on the country to show at the Universal Fair, which was inaugurated in Paris in 1900. He shot over 500 views!"

"Back in France, Gabriel Veyre considered opening a pharmacy, but destiny had other plans for him. The sultan of Morocco was looking for someone to teach him photography and film. “Why not me? It was a great opportunity to discover a new country, more mysterious and closed than any of those I had been to”. Gabriel Veyre arrived at the palace in Marrakech in March 1901 for a mission that was to have taken six months. But he was to remain in Morocco for the rest of his life."

"The Lumière catalogue includes over 70 films by Gabriel Veyre, including several masterpieces like Le Village de Namo (n. 1296), shot in Vietnam, or Duel au pistolet (n. 35), shot in Mexico."
(Mariann Lewinsky)

Exercice à la baïonnette. Catalogue Lumière. Vue N° 349. Baïonnette au canon, les soldats effectuent un exercice de maniement d’armes puis se retirent sous les arcades ; les sections immobiles à l’arrière-plan avancent alors. Opérateur: Gabriel Veyre. Date: 14 août 1896. Lieu: Mexique, Mexico, Chapultepec, école militaire. Projections: Projetée le 23 août 1896 à Mexico (Mexique) (El Universal, 25 août 1896).Programmée le 21 février 1897 à Lyon (France) sous le titre Mexique : exercice à la Baïonnette (Lyon républicain, 21 février 1897). Eléments filmiques: négatif Lumière. Séries: Gabriel Veyre en Amérique latine (1896-1897).

Exercice à la baïonnette / [Bayonet Exercise]
n. 349, Gabriel Veyre, Chapultepec, MX 1896

Le président en promenade. Catalogue Lumière. Vue N° 348. Le président Porfirio Díaz, escorté par des cavaliers, se promène à cheval dans un parc ; des cyclistes descendent de leur machine pour le saluer. Opérateur: Gabriel Veyre. Date: [6 août 1896] - 16 août 1896. Lieu: Mexique, Mexico, parc de Chapultepec. Personnes: Le président Porfirio Díaz saluant, à cheval, à droite. Projections: Projetée le 27 août 1896 à Mexico (Mexique) sous le titre El Sr. Presidente de la República paseando a caballo en el bosque de Chapultepec [M. le président de la République se promenant à cheval dans le bois de Chapultepec] (El Universal, 29 août 1896). Eléments filmiques: négatif Lumière. Personnes identifiées: Claudio Fernando Bon Bernard, Porfirio Díaz. Genre: événement officiel. Séries: Gabriel Veyre en Amérique latine (1896-1897).

Le président en promenade / [The President Porfirio Díaz on Horseback]
n. 348, Gabriel Veyre, Chapultepec, MX 1896

Marché indien sur le canal de la Viga. Catalogue Lumière. Vue N° 355. Des barques chargées de verdure passent sur un canal; l’une d’elles accoste. Opérateur: Gabriel Veyre. Date: [6 août 1896] - 23 août 1896. Lieu: Mexique, Mexico. Projections: Projetée le 23 août 1896 au château de Chapultepec, Mexico (Mexique) (El Universal, 25 août 1896).Programmée le 21 février 1897 à Lyon (France) sous le titre Mexique: marché indien sur un canal (Lyon républicain, 21 février 1897). Eléments filmiques: négatif Lumière - 1 copie Lumière. Lieu: cours d’eau, marché. Genre: travail, villes et paysages. Objet: bateau. Séries: Gabriel Veyre en Amérique latine (1896-1897).

Marché indien sur le canal de la Viga / [An Indian Market at the La Viga Canal]
n. 355, Gabriel Veyre, Ciudad de México, MX 1896

Repas d’Indiens. Catalogue Lumière. Vue N° 351. Entouré par des spectateurs, un groupe d’Indiens prend son repas dans des écuelles. Opérateur: Gabriel Veyre. Date: [6 août 1896] - 13 septembre 1896. Lieu: Mexique, Mexico, Popotla, arbre de la Noche Triste. Personnes: En haut, à gauche et dans l'ombre, Claudio Fernando Bon Bernard, soulève le chapeau d'un indien. Projections: Projetée le 13 septembre 1896 à Mexico (Mexique) sous le titre Un grupo de indios al pie del árbol de la noche Triste en Popotla [Un groupe d'Indiens au pied de l'arbre de la Noche Triste à Popotla] (El Tiempo, 13 septembre 1896).Programmée le 21 février 1897 à Lyon (France) sous le titre Mexique: un repas d'Indiens (Lyon républicain, 21 février 1897). Eléments filmiques: négatif Lumière - 1 copie Edison. Séries: Gabriel Veyre en Amérique latine (1896-1897).

Repas d’Indiens / [Indians at Lunch]
n. 351, Gabriel Veyre, Ciudad de México, MX 1896

Défilé de jeunes filles au lycée. Catalogue Lumière. Vue N° 36. Au rythme du tambour, des jeunes filles exécutent un exercice de gymnastique dans la cour d’un lycée, et défilent en tenant un bâton à bout de bras. Opérateur: Gabriel Veyre. Date: [6 août 1896] - 6 décembre 1896. Lieu: Mexique, Mexico, collège de la Paz. Projections: Programmée le 6 décembre 1896 à Mexico (Mexique) sous le titre Alumnas del colegio de la Paz (Vizcainas) en traje de gimnastas [Élèves de l'école de la Paz (Biscaïennes) en tenue de gymnastique] (El Universal, 6 décembre 1896). Eléments filmiques: négatif Lumière - 2 copies Lumière. Lieu: école. Genre: sport. Sujet: enfant. Séries: Gabriel Veyre en Amérique latine (1896-1897).

Défilé de jeunes filles au lycée / [A Parade of High School Girls]
n. 36, Gabriel Veyre, Ciudad de México, MX 1896

Transport de la cloche de l’Indépendance. Catalogue Lumière. Vue N° 346. La cloche de l’Indépendance est transportée au palais national par un cortège de cavaliers et d’officiers à pied, au milieu d’une foule très dense. Le changement d'axe de prise de vue est involontaire, il est dû à une bousculade. Il existe en effet une photographie de tournage dans le fonds Jacquier/Veyre montrant Gabriel Veyre, juché sur une table avec son Cinématographe, au milieu de la foule attendant le passage du cortège. Opérateur: Gabriel Veyre. Date: 15 septembre 1896. Lieu: Mexique, Mexico, avenue Juárez (aujourd'hui rue del Puente de la Leña). Projections: Programmée le 27 novembre 1896 à Mexico (Mexique) sous le titre La Traslacion de la campana de la independencia [Le Transport de la cloche de l'indépendance] (El Nacional, 27 novembre 1896).Programmée le 28 mai 1899 à Lyon (France) sous le titre Transport de la cloche de l'Indépendance à Mexico (Le Progrès, 28 mai 1899). Technique: Changement d'axe. Eléments filmiques: négatif Lumière. Événement: cérémonie. Genre: coutumes, événement officiel. Séries: Gabriel Veyre en Amérique latine (1896-1897).

Transport de la cloche de l’Indépendance / [Transport of the Bell of Independence]
n. 346, Gabriel Veyre, Ciudad de México, MX 1896

Baignade de chevaux. Catalogue Lumière. Vue N° 357. Des chevaux conduits par des palefreniers entrent dans l’eau, tandis qu’un homme essaie de faire reculer des canards qui avancent sur l’eau. Opérateur: Gabriel Veyre. Date: [20 octobre 1896] - 12 novembre 1896. Lieu: Mexique, Guadalajara, ferme d'Atequiza. Projections: Programmée le 12 novembre 1896 à Guadalajara (Mexique) sous le titre Baño de caballos [Baignade de chevaux] (El Correo de Jalisco, 12 novembre 1896.Programmée le 28 mars 1897 à Lyon (France) sous le titre Mexique : baignade de chevaux (Lyon républicain, 28 mars 1897). Eléments filmiques: négatif Lumière - 3 copies Lumière. Lieu: campagne, ferme. Genre: travail. Sujet: animal. Séries: Gabriel Veyre en Amérique latine (1896-1897), L'hacienda d'Atequiza.

Baignade de chevaux / [Bathing Horses]
n. 357, Gabriel Veyre, Guadalajara, MX 1896

Lassage des boeufs pour le labour. Catalogue Lumière. Vue N° 354. Aidés par des cavaliers qui circulent entre les bêtes, des vachers passent une corde au cou des boeufs puis les emmènent. Opérateur: Gabriel Veyre. Date: [20 octobre 1896] - 12 novembre 1896. Lieu: Mexique, Guadalajara, ferme d'Atequiza. Projections: Programmée le 12 novembre 1896 à Guadalajara (Mexique) sous le titre Elección de yuntas [Choix d'attelages] (El Correo de Jalisco, 12 novembre 1896).Programmée le 6 décembre 1896 à Mexico (Mexique) sous le titre Elección de yuntas en una bueyada [Choix d'attelages dans un corral] (El Universal, 6 décembre 1896).Programmée le 3 septembre 1899 à Lyon (France) sous le titre Boeufs de labour (Le Progrès, 3 septembre 1899). Eléments filmiques: négatif Lumière - 1 copie Lumière. Lieu: campagne, ferme. Genre: travail. Sujet: agriculteur, animal. Séries: Gabriel Veyre en Amérique latine (1896-1897), L'hacienda d'Atequiza.

Lassage des boeufs pour le labour / [Lassoing Oxen at the Corral]
n. 354, Gabriel Veyre, Guadalajara, MX 1896

Bal espagnol dans la rue. Catalogue Lumière. Vue N° 358. Des hommes et des femmes dansent, bras levés et claquant des doigts au milieu d’une foule de spectateurs. Opérateur: Gabriel Veyre. Date: [6 août 1896] - 30 décembre 1896. Lieu: Mexique, Mexico. Projections: Projetée le 30 décembre 1896 à Mexico (Mexique) sous le titre Baile de la romería española en el Tivoli del Eliseo [Bal de la fête espagnole au Tivoli de l'Eliseo] (El Tiempo, 30 décembre 1896). Eléments filmiques: négatif Lumière. Lieu: rue, ville. Événement: danse. Genre: distraction. Séries: Gabriel Veyre en Amérique latine (1896-1897).

Bal espagnol dans la rue / [A Spanish Street Ball]
n. 358, Gabriel Veyre, Ciudad de México, MX 1896

Lassage d’un cheval sauvage. Catalogue Lumière. Vue N° 350. Plusieurs cavaliers tentent d’attraper un cheval que l’un d’eux vient d’attraper au lasso. Une vue supplémentaire non cataloguée représente la même scène. Opérateur: Gabriel Veyre. Date: [20 octobre 1896] - 3 novembre 1896. Lieu: Mexique, Guadalajara, ferme d'Atequiza. Projections: Programmée le 12 novembre 1896 à Guadalajara (Mexique) sous le titre Lazamiento de un caballo salvaje [Lassage d'un cheval sauvage] (El Correo de Jalisco, 12 novembre 1896).Programmée le 9 septembre 1900 à Lyon (France) sous son titre (Le Progrès, 10 septembre 1900). Eléments filmiques: négatif Lumière - 1 copie Lumière - 1 copie Edison. Lieu: campagne, ferme. Genre: travail. Sujet: agriculteur, animal. Séries: Gabriel Veyre en Amérique latine (1896-1897), L'hacienda d'Atequiza.

Lassage d’un cheval sauvage / [Lassoing a Wild Horse]
n. 350, Gabriel Veyre, Guadalajara, MX 1896. - AA: Even a donkey is included.

35 mm. Da: Institut Lumière, Lyon

All non-fiction. The prints tend to be in high contrast but are quite watchable. The print of Transport de la cloche de l'Indépendence is better. The print of Lassage des boeufs pour le labour is not very good.

The captions are copied from the Catalogue Lumière website. There is little to add to its information.

Anno uno 6: Italy 1896 – in Honor of Aldo Bernardini

THIS SHOW I MISSED, BUT I INCLUDE IT IN MY DIARY TO COVER THE COMPLETE LIST OF THE ANNO UNO PROGRAMME.

Grand Tour italiano

1896. Cinema anno uno – Lumière!
1896. Year One of Cinematography
Programma 6: Italia 1896 – in onore di Aldo Bernardini
Programme 6: Italy 1896 – in Honor of Aldo Bernardini


Gian Luca Farinelli: "Aldo Bernardini has two parallel, but closely linked, lives: that of a film critic and that of an Italian cinema historian. As a critic he became known and appreciated for his many writings on actors and filmmakers from both Italian cinema and beyond. He collaborated with the principal national newspapers and was chief editor of international encyclopaedias like Schedario Cinematografico and Filmlexicon degli Autori e delle Opere and the “Rivista del Cinematografo”. For several years he was also secretary of the Italian film critics union. As a historian, in 1964 he was one of the founders of the pioneering Associazione Italiana per le Ricerche di Storia del Cinema, the oldest film history research association in the world, which took over from the historical conference that previously took place at the Venice Film Festival."

"Anyone who wants to write about or work with Italian cinema employing a scientific approach must inevitably turn to Bernardini or make use of the research tools he developed. Despite operating outside of academia as a free agent, Bernardini managed to lay the historiographic foundations for the study of Italian cinema. He was one of the first in Europe who, in order to compile a history of Italian cinema, based his research on documents and materials deriving from the Ministry and production companies. An extraordinary task animated by a deep desire to be systematic, which fed into the essential database compiled for Anica."

"We are both happy and honoured to announce that Aldo Bernardini has decided to donate his personal archive to the Cineteca di Bologna, which already houses the Vittorio Martinelli collection. The Cineteca can therefore be proud of now housing the archives of these two great Italian film historians."
– Gian Luca Farinelli

Mariann Lewinsky: "The ideal film to open this programme is lost. La festa inaugurale del monumento a Marco Minghetti was the first film ever shot in Bologna, on June 28, 1896, and the first film ever to appear on a screen in Bologna, on August 27, 1896."

"Film historian Aldo Bernardini found its trace (a screening on July 19, 1896, in Genova) and put it on record in his monumental, meticulously researched Il cinema muto italiano. I film ‘dal vero’ 1895-1914 (2002), along with about forty more lost Italian films from 1896-1899. On the other hand about forty unidentified Italian films shot on Lumière stock, considered views “hors catalogue” or “hors production”, have survived, among them the undated Salone Margherita, shot maybe in 1896, maybe in Naples (and with Lumière operator Alexandre Promio maybe appearing in it)."

"To continue with first times, Levée de filets de pêche seems to be the first film shot abroad ever to be screened back in France, in Lyon, on March 8, 1896, and Bains de Diane became one of the first popular successes of cinematography. It was usually shown twice, the second time backwards, transformed into a surreal trick film with people jumping vertically out of the water up to the diving board, a comic highlight to end the show. Lumière père and frères and their representatives obviously knew about programming."

"The second part of our programme follows a historical screening in Turin (daily from December 20 to 26, 1896). Its finale, Le Serpent, stars the then world-famous performer Félicien Trewey, a close friend of the Lumière family. Louis Lumière filmed several of Trewey’s beautiful music hall numbers in early 1896.
" – Mariann Lewinsky

Salone Margherita
fuori catalogo n. [4026], [Napoli], IT [1896]

Levée de filets de pêche. Catalogue Lumière. Vue N° 58. “Dans le port de Naples, une quinzaine de pêcheurs retirent leurs filets de pêche en tirant sur le câble.” Opérateur: inconnu. Date: [12 mars 1896] - [20 décembre 1896]. Lieu: Italie, Naples, port. Projections: Programmée le 16 octobre 1898 à Lyon (France) sous son titre (Lyon républicain, 16 octobre 1898). Eléments filmiques: négatif Lumière - 2 copies Lumière. Genre: travail, villes et paysages. Sujet: pêcheur.

Levée de filets de pêche / [Fishermen Hauling Their Nets]
n. 58, Napoli, IT 1896

Port et Vésuve. Catalogue Lumière. Vue N° 282. Animation sur le port. La fontaine de l'Immacoletella citée dans le texte du Corriere di Napoli se trouve sur le quai du port de Santa Lucia. Opérateur: inconnu. Date: [12 mars 1896] - [20 décembre 1896]. Lieu: Italie, Naples, port de Santa Lucia. Projections: Programmée le 17 janvier 1897 à Lyon (France) sous le titre Naples. - Port et Vésuve. (Lyon républicain, 17 janvier 1897). Eléments filmiques: négatif Lumière - 2 contretypes Lumière - 1 copie Lumière. Genre: villes et paysages. Objet: bateau, voiture hippomobile.

Port et Vésuve / [The Santa Lucia Harbour in Naples and Mount Vesuvius]
n. 282, Napoli, 1896

Place du Dôme. Catalogue Lumière. Vue N° 278. Circulation de piétons sur la place et passage de tramways. Deux indices permettent d'attribuer cette vue à Charles Moisson : le premier, c'est la présence dans cette vue de sa femme, Marie Moisson, qui apparaît également sur une photo de tournage, appartenant aux descendants de Charles Moisson reproduisant à l'identique le cadrage de la vue. Le second indice, c'est la présence d'un fil impressionné sur chaque photogramme, identique à celui déjà repéré sur les négatifs de vues allemandes, du couronnement du tsar, de Vienne et de Budapest, tournées par Moisson. Ce fil est également présent sur trois vues de Venise dans lesquelles Marie Moisson est présente (cf. n° 1248 à 1250). Opérateur: Charles Moisson. Date: [14 juin 1896] - [2 août 1896]. Lieu: Italie, Milan, place du Dôme. Projections: Programmée le 1er octobre 1896 à Vérone (Italie) sous le titre Piazza del Duomo a Milano col monumento a Vittorio Emanuele [Place du Dôme à Milan avec le monument à Victor Emmanuel] (L'Arena, 1/2 octobre 1896).Programmée le 26 août 1900 à Lyon (France) sous le titre Place du Dôme à Milan (Le Progrès, 1er septembre 1900). Eléments filmiques: négatif Lumière. Genre: villes et paysages. Objet: tramway électrique, voiture hippomobile.

Place du Dôme / [Piazza Duomo in Milan]
n. 278, Charles Moisson, Milano, IT 1896

Bains de Diane. Catalogue Lumière. Vue N° 277. “La scène représente les bains célèbres où les baigneurs se jettent à l’eau d’une hauteur prodigieuse en exécutant des sauts périlleux. Effet très curieux quand on passe cette vue à l’envers.” - Les Bains de Diane se trouvaient à Milan, à l'extérieur de la porte Venezia.- Une autre vue non cataloguée, représente la même scène, prise du même point de vue, mais dans cette version, la pancarte “Bagno di Diana in Milano” n'apparaît pas. Opérateur: Giuseppe Filippi. Date: [12 mars 1896] - 12 juillet 1896. Lieu: Italie, Milan, bains de Diane. Projections: Programmée le 12 juillet 1896 à Vichy (France) sous le titre Bains découverts à Milan (L'Écho de Vichy, 12 juillet 1896). Eléments filmiques: négatif Lumière - 2 contretypes Lumière - 1 copie Edison. Genre: distraction.

Bains de Diane / [The Diana Baths]
n. 277, Giuseppe Filippi, Milano, IT 1896

Roi et reine d’Italie. Catalogue Lumière. Vue N° 279. “S.M. le roi Humbert II [sic] et la reine d’Italie à Monza.”Le roi Humbert Ier et la reine Marguerite de Savoie descendent l’escalier, suivis par quelques personnes puis montent dans une calèche. En regard de sa lettre du 25 novembre, Constant Girel est probablement l'auteur de cette vue, ce qu'il a en outre, toujours affirmé (cf. Denise Boehm-Girel, « Un opérateur des Lumière, Constant Girel », Congrès Lumière, Lyon, juin 1995 - Actes à paraître). Cette affirmation est toutefois contredite par une lettre de Vittorio Calcina, conservée au Musée du cinéma de Turin, dans laquelle il s'attribue le titre “S.M. Il Re Umberto et S.M. la regina a Monza il 20/11/1896” [Sa Majesté le roi Humbert et Sa Majesté la reine à Monza le 20 novembre 1896] (cf. Aldo Bernardini, Cinema muto italiano. 1 : Ambiente, spettacoli e spettatori 1896-1904, Roma, Laterza, 1980, p. 22). Mais en sa qualité de concessionnaire, peut-être Calcina s'est-il contenté d'organiser le tournage, puisque parmi les sept autres titres qu'il mentionne, il s'attribue également la vue n° 1191, alors qu'elle est tournée par Francesco Felicetti. Opérateur: [Constant Girel]. Date: [20 novembre 1896]. Lieu: Italie, Monza, palais royal. Personnes: Les souverains italiens descendent les marches du palais Monza : la reine Marguerite de Savoie au bras d'Humbert Ier. Projections: Programmée le 20 décembre 1896 à Turin (Italie) sous le titre Le LL. MM. a Monza (Gazzetta di Torino, 20/21 décembre 1896). Programmation de Roi et reine d'Italie le 25 décembre 1896 à Lyon (France) (Lyon républicain, 24 décembre 1896). Eléments filmiques: négatif Lumière - 1 contretype Lumière - 2 copies Lumière. Objet: voiture hippomobile. Séries: info-five-89.

Roi et reine d’Italie / [The King and Queen of Italy]
n. 279, [Constant Girel], Monza, IT 1896

Cortège au mariage du prince de Naples. Catalogue Lumière. Vue N° 283. Défilé de calèches escortées de cavaliers et mouvement d’une foule de journalistes. Opérateur: Charles Moisson. Date: 24 octobre 1896. Lieu: Italie, Rome, piazza dell' Esedra (aujourd'hui piazza della Repubblica). Personnes: Au fond, la basilique Santa Maria degli Angeli. Projections: Projetée le 16 décembre 1896 au Photo Club à Lyon (France) (Lyon républicain, 17 décembre 1896). Eléments filmiques: négatif Lumière. Personnes identifiées: Hélène de Monténégro, Humbert Ier, identi-780, Marguerite de Savoie. Objet: voiture hippomobile. Séries: Mariage du prince Victor-Emmanuel.

Cortège au mariage du prince de Naples / [The Wedding Procession of the Prince of Naples]
n. 283, Charles Moisson, Roma, IT 1896

Le Forum. Catalogue Lumière. Vue N° 290. Des omnibus traversent la place tandis que des enfants ramassent les piécettes qu’on leur lance. Opérateur: inconnu. Date: [12 mars 1896] - 20 décembre 1896. Lieu: Italie, Rome, le Forum. Projections: Programmée le 20 décembre 1896 à Turin (Italie) sous le titre Foro romano [Forum romain] (Programme du 20 au 26 décembre 1896 du Cinematografo-Lumière situé Via Po, 33).Programmée le 5 mars 1897 à Marseille (France) sous le titre Foro romano (Le Masque, 5 mars 1897). Eléments filmiques: négatif Lumière - 1 copie Lumière. Objet: tramway hippomobile et omnibus, voiture hippomobile.

Le Forum / [The Roman Forum]
n. 290, Roma, IT 1896

Bal d’enfants. Catalogue Lumière. Vue N° 15. Dans une cour, sous le regard d’une femme, dix petites filles dansent une badoise. On ne peut accorder qu'un crédit limité au titre de projection La Bohemienne dei bébés al Monty-Alby di Torino en raison du grand nombre de titres de projection comportant des fausses indications. Opérateur: inconnu. Date: [12 mars 1896] - 13 décembre 1896. Lieu: [Italie, Turin, Institut Monti-Alby]. Projections: Programmée le 13 décembre 1896 à Lyon (France) sous le titre Danse d'Enfants (Lyon républicain, 13 décembre 1896).Programmée le 20 décembre 1896 à Turin (Italie) sous le titre La Bohemienne dei bébés al Monty-Alby di Torino (Gazzetta di Torino, 20/21 décembre 1896).Programmée le 1er janvier 1897 à Marseille (France) sous le titre La Badoise dansée par des petites fillettes (Le Masque, 1er janvier 1897). Eléments filmiques: négatif Lumière - 1 contretype Lumière - 1 copie Lumière. Événement: danse. Genre: distraction. Sujet: enfant.

Bal d’enfants / [The Children's Ball]
n. 15, Torino, IT 1896

Serpent. Catalogue Lumière. Vue N° 90. Félicien Trewey déroule un large serpentin blanc qu’il fait virevolter autour de lui. Titre issu du Catalogue des vues - Première Liste. Opérateur: [Louis Lumière]. Date: [16 janvier 1896] - [9 février 1896]. Lieu: France, La Ciotat, Clos des Plages. Personnes: Félicien Trewey. Projections: Projetée le 20 février 1896 au Polytechnic Institution à Londres (Grande-Bretagne) sous le titre Serpent (Photography, 27 février 1896).Programmée le 22 mars 1896 à Lyon (France) sous le titre Le Serpent (Lyon Républicain, 22 mars 1896). Eléments filmiques: négatif Lumière - 3 copies Lumière. Genre: spectacle. Sujet: acrobate et équilibriste. Objet: costumes. Séries: Félicien Trewey, info-five-32.

Serpent / [The Serpent]
n. 90, [Louis Lumière],
La Ciotat, FR 1896

35 mm. Da: Institut Lumière, Lyon