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В фильме «Дело Дрейфуса» можно заметить стремление Жоржа Мельеса к реализму и документальности. Так сцена «Дрейфус отправляется из лицея в тюрьму» была сделана по фотографии, напечатанной в «Иллюстрасьон», а сцены «Чертов остров» и «Военный трибунал» напоминают цветные репродукции, напечатанные в «Пти журналь иллюстрэ»[1]. Для соблюдения стиля настоящей хроники Мельес даже позволяет актёрам подходить к камере (это чуть ли не единственный фильм, где такое позволяется актёрам ). В ролях - Жорж Мельес / Фернан Лабори
В ролях[править | править вики-текст]
· Жорж Мельес / Фернан Лабори
| The Dreyfus Affair | |
Nine installments of the series
| |
| Directed by | Georges Méliès |
| Production company | Star Film Company |
| Distributed by | · Star Film Company · Warwick Trading Company |
| Release dates | September 1899[1] |
| Running time | · 240 meters/780 feet total[1] · Approx. 13 minutes total[2] |
| Country | France |
| Language | Silent |
The Dreyfus Affair (French: L'affaire Dreyfus), also known as Dreyfus Court-Martial,[3] is an 1899 series of short silent docudramas, conceived and directed by Georges Méliès.[4] Released by Méliès's Star Film Company and numbered 206–217 in its catalogs,[5] each of the eleven one-minute installments reconstructs an event from the historical Dreyfus affair, which was still in progress while the series was being made.[4]
Summary[edit]
The eleven installments of the series follow the events of the Dreyfus affair from 1894 through September 1899,[6] the month of the series's release.[1] The following is a summary of the series's overarching storyline. For information on the individual installments, see theInstallments section below.
In 1894, Armand du Paty de Clam suspects the French military captain Alfred Dreyfus of being a spy for Germany. Paty de Clam demans a sample of Dreyfus's handwriting, to see if it matches the writing on the Bordereau (an anonymous letter to the German Embassy that has been discovered by French counterintelligence). Finding that Dreyfus seems nervous, Paty de Clam accuses him outright of having written the Bordereau, and offers a gun so that Dreyfus can commit suicide on the spot. Dreyfus protests that he is innocent, and is arrested. At theÉcole Militaire, Dreyfus is stripped of his rank and honors, and he is sent to be clapped in irons in prison on Devil's Island.
Four years later, Colonel Hubert-Joseph Henry, who had accused Dreyfus publicly, is arrested (he has admitted to having forged the Faux Henry, a false document designed to act as evidence against Dreyfus). Henry commits suicide in Cherche-Midi prison. The next year, in 1899, Dreyfus is transferred from Devil's Island via Quiberon to Rennes, where he will be tried by court-martial now that further evidence has surfaced. His defense attorneys Fernand Labori and Edgar Demange visit him, as does his wife Lucie. Later, when walking with Georges Picquart, Labori is struck down by a bullet. Labori survives, but the shooter escapes.
The case splits popular opinion into two sides: the Dreyfusards (who believe Dreyfus is innocent) and the anti-Dreyfusards (who believe he is guilty). The court martial is heavily attended by journalists on both sides, and a fight breaks out as controversy rages between the Dreyfusard reporter Caroline Rémy de Guebhard and the anti-Dreyfusard reporter Arthur Meyer. The turmoil is hardly more contained in the trial itself, when Dreyfus and General Auguste Mercier (called as a witness) are cross-examined. Dreyfus, convicted of treason, is led back to prison.
Installments[edit]
The table below gives each installment's chronological order (#), numbering in Star Film catalogs (SFC), original French title, English release titles for the US and UK, and length in meters (m), as well as the individual scene summaries from the catalog released on 1 November 1899 by the Warwick Trading Company, the only known British firm to sell all eleven installments of the series.[7]
Production[edit]
Production of The Dreyfus Affair began while the real-life Alfred Dreyfus's trial was proceeding in Rennes. The series was made entirely in Méliès's Star Films studio in Montreuil, Seine-Saint-Denis, though with a strong emphasis on cinematic realism markedly different from the energetic theatrical style used in Méliès's better-known fantasy films.[9] An ironworker with a strong resemblance to Dreyfus was hired for the role in order to increase the series's realism.[10] Méliès himself appears in the series as Dreyfus's attorney Fernand Labori, and makes a brief reappearance as a journalist after Labori's attempted assassination.[11] The series is Dreyfusard in its point of view: it portrays Dreyfus sympathetically, and the lead actor's performance is staged to imply strongly that Dreyfus is innocent.[4]
At about the same time as Méliès's production, the studio Pathé Frères also produced a reenactment of the Dreyfus affair, in six episodes,[12] with the actor Jean Liézer as Dreyfus.[13]This version may have been directed by Ferdinand Zecca.[12]
Taken as a whole, The Dreyfus Affair can be considered Méliès's longest film up to that date, and it has sometimes been described as such. However, the eleven installments were designed to be sold individually, so it is more accurate to refer to the work as a series.[4]
Release and reception[edit]
There is a basic confusion concerning the newsreelfilm. They said that Lumière invented the newsreel—it was Méliès. Lumière photographed train stations, horse races, families in the garden—i.e. the stuff ofimpressionist painting. Méliès filmed a trip to the moon,President Fallières visiting Yugoslavia, the eruption of Mount Pelée, Dreyfus.
“
”
Jean-Luc Godard, La Chinoise [14]
The eleven installments were sold at US$9.75 each, and were sometimes shown in sequence, making The Dreyfus Affair the first known film serial.[9] Both Méliès's and Pathé's versions reached England in September 1899, where they quickly became the most extensively advertised films of that year (the record was broken the following month with the release of films of theTransvaal War).[15] According to the film historian Jay Leyda, Méliès's emphasis on realism was so convincing that European audiences believed they were watching actual documentary film of the events.[10]
The Dreyfus Affair remains the most famous of Méliès's actualitiés reconstituées ("reconstructed actualities"), surpassing even his highly successful 1902 work in the genre, The Coronation of Edward VII. [16] According to the film historian Georges Sadoul, The Dreyfus Affair was the first "politically engaged film" in the history of cinema.[4]
Nine of the eleven installments (all except scenes 2 and 11, catalog numbers 216 and 217) survive as a 35mm positive print at the BFI National Archive.[17] All eleven installments of the series are believed to survive at the Archives françaises du film in Bois d'Arcy.[18]
The series is prominently featured in Susan Daitch's 2001 novel Paper Conspiracies, which includes fictionalized accounts of its making, preservation, and survival.[19]
| Жанна д’Арк | |
| Jeanne d'Arc | |
| |
| Жанр | драма исторический фильм |
| Режиссёр | Жорж Мельес |
| Продюсер | Жорж Мельес |
| Автор сценария | Жорж Мельес |
| В главных ролях | Блюетт Бернон Жорж Мельес Жанна Д'альси |
| Оператор | Жорж Мельес |
| Кинокомпания | Стар фильм компани |
| Длительность | 10 мин |
| Страна |  Франция
|
| Язык | немое кино |
| Год | |
| IMDb | ID 0132251 |
«Жанна д’Арк» (фр. Jeanne d'Arc) — немой короткометражный исторический фильм Жоржа Мельеса. Это самая первая экранизация, рассказывающая о Жанне д’Арк. Премьера фильма прошла в США 11 ноября 1900 года.
Сюжет[править | править вики-текст]
Жанне видится Святой Николай, и Жанна в недоумении идёт домой. Она заходит в дом, но тут же выходит. Принц пытается её успокоить, но Жанна идёт в замок. Сначала стражник её не пускает, но когда Жанна рассказала о видении, стражник её пускает. Во время пира Жанна обо всём рассказывает королю. В итоге начинаются народные гуляния, а Жанну посвящают в рыцари. Вскоре начинается Столетняя война. Идёт осада, а бедную Жанну берут в плен. В камере ей снится сон, будто она в раю вместе со Святым Николаем. Позже её будят, ведут на костёр и сжигают. Дальше Жанна попадает в рай.
В ролях[править | править вики-текст]
· Жорж Мельес
· Жанна д’Альси
· Блюетт Бернон
Художественные особенности[править | править вики-текст]
В фильме впервые использовалось висение человека в воздухе с помощью каната.
Интересные факты[править | править вики-текст]
В 1999 году к 100-летию фильма его расцветили от руки.
| Jeanne d'Arc | |
Joan burning at the stake at the climax of the film
| |
| Directed by | Georges Méliès |
| Produced by | Georges Méliès |
| Written by | Georges Méliès |
| Starring | · Jeanne Calvière · Georges Méliès · Jeanne d'Alcy |
| Cinematography | Leclerc |
| Production company | Star Film Company |
| Release dates | · 1900 |
| Running time | 10 minutes |
| Country | France |
| Language | Silent |
Joan of Arc (French: Jeanne d'Arc) is a 1900 French silent film directed by Georges Méliès, based on the life of Joan of Arc.
Plot[edit]
In the village of Domrémy, the young Joan is visited by Saint Michael, Saint Catherine, and Saint Margaret, who exhort her to fight for her country. Her father Jacques d'Arc, mother Isabelle Romée, and uncle beg her to stay at home, but she leaves them and travels toVaucouleurs, where she meets with the governor, Captain Robert de Baudricourt. The dissipated Baudricourt initially scorns Joan's ideals, but her zeal eventually wins him over, and he gives her authority to lead French soldiers. Joan and her army lead a triumphal procession intoOrléans, followed by a large crowd. Then, in Reims Cathedral, Charles VII is crowned King of France.
At the Siege of Compiègne, Joan is taken prisoner while her army attempts to storm the castle. In prison, Joan has another dream in which she sees her visions again. Taken to the interrogation, Joan refuses to sign a retraction, and is condemned as a heretic. In the Rouenmarketplace, Joan is burned at the stake. The wood carrier at the execution, bringing in fuel for the burning, dies on the spot from the fumes. In a final apotheosis scene, Joan rises to heaven, where she is greeted by God and the saints.
Cast[edit]
· Jeanne Calvière as Joan of Arc.[1] Calvière, a stablewoman at the Cirque d'Hiver, was hired for this film and remained among Méliès's core troupe of actors for several years afterward.[2]
· Georges Méliès in seven roles: Jeanne's father; Jeanne's uncle; Robert de Baudricourt; a beggar at the Orléans procession; a soldier at the Siege of Compiègne; one of Joan's jailers; and the wood carrier at the execution.[3]
· Jeanne d'Alcy in three roles: Jeanne's mother; a lady at Vaucouleurs; and a lady at Orléans.[3]
Production[edit]
The surviving print of the film
The film was made in the spring of 1900.[4] It was the first of Méliès's films to surpass 200 meters in length, and the second (after his Cinderella the previous year) to use changes of scene, with twelve sets employed and that number of scenes, or tableaux, advertised.[4] (Cinderella was advertised as having twenty tableaux, but they were filmed on only six sets; this division of long scenes into smaller segments for advertising purposes would become Méliès's standard practice. Joan of Arc, by contrast, was advertised with twelve scenes, one per set.)[3] The artist Charles Claudel, who also repainted the interior of the Théâtre Robert-Houdin in 1901 following Méliès's designs,[5] was the set painter for the film.[6] The cameraman was Leclerc,[6] who also worked for Méliès as the pianist at the Théâtre Robert-Houdin.[7]
Méliès's scenario for the film strongly emphasizes Joan's status as a national hero of France and a martyr for the French people; the first scene, in which Joan enters leading a flock of sheep, foreshadows her eventual leading of the French army. The final scene, with its triumphal entry of Joan into heaven and her meeting God, suggests Joan's suitability for Catholic sainthood.[8] (Joan of Arc was beatified by the Church in 1909 andcanonized in 1920.)[9]
Most of the film is staged in Méliès's usual theatrical style, with a stationary camera viewing the action from afar, in a long shot, as if viewing a stage spectacle from a seat in the audience. However, the eighth scene, the Siege of Compiègne, is notable for a more modern-looking visual effect: in that scene, actors move much closer to the camera, in the distance of a medium shot. This is the second example, among Méliès's extant films, of experiments with medium shots; the first had occurred the previous year in Bagarre entre journalistes, an installment of Méliès's series The Dreyfus Affair. [3]
An advertisement for the film claims that "almost 500 people" can be seen in the grand parade at Orléans, an effect created by having a moderately sized group of people cross the screen from left to right, go around the north side of the studio, and re-enter, repeating the cycle several times to simulate a much larger crowd.[4]
Release and survival[edit]
Joan of Arc was released by Méliès's Star Film Company and is numbered 264–275 in its catalogues,[3] where it was advertised as a pièce cinématographique à grand spectacle en 12 tableaux. [4] As the film scholar Jacques Malthête has noted, Méliès's descriptions of the film in advertising material never mention that Joan's enemies are English; this omission occurs not only in the English-language materials (where mentioning conflict with the French may have been thought harmful to sales), but also in the French ones (where the omission is less understandable).[3]
The film was Méliès's second big cinematic success (Cinderella was the first).[4] It was shown widely in France, and was also exhibited elsewhere, including in Montreal and Havana.[3] In England, the film was distributed by the Warwick Trading Company, which handled English releases of Méliès's films until 1902.[3] In the United States, the Edison Manufacturing Companysold "dupes" (illegally duplicated prints) of the film.[10] American film piracy became such a problem for Méliès, especially after the success of his much-pirated 1902 film A Trip to the Moon, that he opened an American branch of his company in New York in 1903, under the direction by his brother Gaston Méliès, for added copyright protection.[11]
The film was believed lost until 1982, when a hand-colored print with the first scene missing was discovered by the collector René Charles.[3]
| Поцелуй в тоннеле | |
| A Kiss in the Tunnel | |
| Жанр | романтическая комедия |
| Режиссёр | Джордж Альберт Смит |
| В главных ролях | Джордж Альберт Смит миссис Джордж Альберт Смит |
| Оператор | Джордж Альберт Смит |
| Кинокомпания | G.A.S. Films |
| Длительность | 1 мин |
| Страна |  Великобритания
|
| Язык | Немое кино |
| Год | |
| IMDb | ID 0000248 |
«Поцелуй в тоннеле» (англ. A Kiss in the Tunnel) — немой короткометражный фильм Джорджа Альберта Смита. Премьера состоялась в Великобритании в 1899 году.
Сюжет[править | править вики-текст]
Джентльмен и дама целуются в тоннеле.
| The Kiss in the Tunnel | |
Screencap from the film
| |
| Directed by | George Albert Smith |
| Produced by | George Albert Smith |
| Starring | Laura Bayley George Albert Smith |
| Cinematography | George Albert Smith |
| Release dates | · September 1899 |
| Running time | 1 min 3 secs |
| Country | United Kingdom |
| Language | Silent |
The Kiss in the Tunnel is a 1899 film British short silent comedy film, produced and directed by George Albert Smith, showing a couple sharing a brief kiss as their train passes through a tunnel, which is said to mark the beginnings of narrative editing. The director, according to Michael Brooke of BFI Screenonline, "felt that some extra spice was called for," in the then-popular 'phantom ride' genre, which featured shots taken from the front of a moving train, "and devised a shot showing a brief, almost furtive moment of passion between two passengers, taking advantage of the brief onset of darkness." Just this middle shot was offered by The Warwick Trading Company to exhibitors, who were advised, "to splice it into train footage that they almost certainly would own from previous programmes."[1][2]
Screenonline reviewer Michael Brooke points out that "the lighting here is totally unrealistic - we can see everything that's going on," and, "no attempt has been made at realism in the setting - the " carriage is very obviously a painted flat that has been decorated with various props: luggage, parasols and so on, though the camera has been made to sway from side to side to create the illusion of movement." Nonetheless, according to David Fisher, this three-shot film (as recontsructed by the BFI) is, "beginnings of narrative editing."[1][2]
The film was remade under the same title by Bamforth and Company the same year, although they, according to Michael Brooke of BFI Screenonline, "adopted a rather less stylised and noticeably more passionate approach to the brief encounter of the title."[1]
The film combined two popular features of early cinema: phantom rides and kissing scenes. Smith's work was imitated by others includingJames Banforth (in The Kiss in the Tunnel, 1899), S. Lubin (Love in a Railroad Train, 1902) and Edwin S. Porter (What Happened in the Tunnel, 1903). The success of the film led to the Warwick Trading Company offering the shot of the couple kissing as a standalone item to film exhibitors, which they could then insert into footage they already had of trains entering and exiting a tunnel.
| Бабушкина лупа | |
| Grandma's Reading Glass | |
| |
| Жанр | короктометражка |
| Режиссёр | Джордж Альберт Смит |
| В главных ролях | Харон Смит |
| Оператор | Джордж Альберт Смит |
| Кинокомпания | George Albert Smith Films |
| Длительность | 1мин. 20 сек. |
| Страна | Великобритания
|
| Год | |
| IMDb | ID 0000304 |
«Бабушкина лупа» (англ. Grandma's Reading Glass, 1900) — английский короткометражный художественный фильм Джорджа Альберта Смита.
Сюжет[править | править вики-текст]
Бабушка читает газету с лупой. Затем, отложив лупу, она начинает вязать. Её внук хватает лупу и рассматривает в неё все вокруг.
Художественные особенности[править | править вики-текст]
Предметы, показывают крупным планом в круглом каше: идущие часы, канарейка в клетке, глаза бабушки, голова кошки и т. д.
В ролях[править | править вики-текст]
· Харон Смит / Вилли
| Grandma's Reading Glass | |
| |
| Directed by | George Albert Smith |
| Starring | Harold Smith |
| Release dates | · November 1900 |
| Running time | 1 min 20 secs |
| Country | United Kingdom |
| Language | Silent |
Grandma's Reading Glass is a 1900 British short silent drama film, directed by George Albert Smith, featuring a young Willy who borrows a huge magnifying glass to focus on various objects, which was shot to demonstrate the new technique of close-up. The film, according to Michael Brooke of BFI Screenonline, "was one of the first films to cut between medium shot and point-of-view close-up. [1][2]
"The close-ups themselves were simulated by photographing the relevant objects inside a black circular mask fixed in front of the camera lens," according to Michael Brooke, "which also had the effect of creating a circular image that helped them stand out from the rest of the film." "Smith would develop these techniques in the more narrative-based As Seen Through a Telescope (1900), made the same year."[1]
BFI reviewer Michael Brooke states that, "there is very little narrative to speak of besides the boy looking around for further objects to examine," "but at the time it was released, that would in itself have been sufficient novelty to maintain the audience's interest."[1]
| Как мужчины грабят в Чикаго | |
| How They Rob Men in Chicago | |
| Жанр | криминальная драма |
| Режиссёр | Уоллес Маккатчен |
| Продюсер | Уоллес Маккатчен |
| Оператор | Артур Марвин |
| Кинокомпания | American Mutoscope & Biograph |
| Длительность | 1 мин |
| Страна |  США
|
| Год | |
| IMDb | ID 231757 |
«Как мужчины грабят в Чикаго» — немой короткометражный фильм Уоллеса Маккатчена. Премьера состоялась в апреле 1900 года.
Сюжет[править | править вики-текст]
Пародия на чикагского разбойника. Пожилой джентльмен грабил с помощью головорезов, которые нечаянно оставили деньги у алкоголика. Полицейский берёт у алкоголика деньги, не обращая внимания на тяжёлое положение алкоголика.
Съёмки проводились в Нью-Йорке 24 апреля 1900 года.
| Нападение на миссию в Китае | |
| Attack on a China Mission | |
| Жанр | драма |
| Режиссёр | Джеймс Уильямсон |
| Продюсер | Сага Митчел Джейсмс Кенион |
| Автор сценария | Джеймс Уильямсон |
| В главных ролях | Флоренция Уильямсон |
| Оператор | Джеймс Уильямсон |
| Кинокомпания | Williamson Kinematograph Company |
| Длительность | 4 мин |
| Страна | Великобритания
|
| Год | |
| IMDb | ID 0000273 |
«Нападение на миссию в Китае» (англ. Attack on a China Mission, 1900) — английский короткометражный художественный фильмДжеймса Уильямсона.
Сюжет[править | править вики-текст]
К воротам миссии приближается китаец, вооруженный саблей. Он пробует открыть ворота, и зовет других. Вместе они взламывают ворота. Девять мужчин в китайских костюмах стреляют по зданию миссии.
Далее показан фасад миссии. Миссионер и молодая девушка. На некотором расстоянии находятся жена миссионера и их ребенок. Миссионер кладет книгу и просит девушку принести его ружье и револьверы из дома. Жену и ребенка он отправляет в дом. Из-за кустов миссионер убивает одного из нападавших мужчин. Из ружья он убивает другого. Врукопашную он бросается на третьего «боксера», но в конце концов падает. Другие нападающие бросаются на молодую девушку. На балконе появляется жена миссионера, машущая платком. Смена декорации, и мы видим отряд моряков в синей форме, под командованием офицера на лошади. Опять смена декораций и мы возвращаемся к миссии, где нападавшие подожгли дом. В этот момент появляются моряки. Битва. Появление офицера. Он спасает молодую девушку от опасности.
Жена миссионера показывает на балкон, где она оставила своего ребенка. Трое моряков становятся на спины друг другу и возвращают матери ребенка целым и невредимым.
Художественные особенности[править | править вики-текст]
Уильямсон первым использовал метод, невозможный в театре и открывающий одно из крупнейших изобразительных средств кино — перемежение показа событий, происходящих одновременно в двух удаленных друг от друга местах. Этот метод получил название параллельный монтаж.
В ролях[править | править вики-текст]
· Флоренция Уильямсон
Интересные факты[править | править вики-текст]
· «Нападение на миссию в Китае» было снято в естественных условиях в вилле «Иви Лодж» Джеймса Уильямсона в Брайтоне.
| Очарованный рисунок | |
| The enchanted drawing | |
| |
| Жанр | мультипликационный фильм комедия |
| Режиссёр | Джеймс Стюарт Блэктон |
| Продюсер | Джеймс Стюарт Блэктон Альберт Э. Смит |
| В главных ролях | Джеймс Стюарт Блэктон |
| Оператор | Альберт Э. Смит |
| Кинокомпания | Vitagraph |
| Длительность | 2 мин |
| Страна | США
|
| Язык | Немое кино |
| Год | |
| IMDb | ID 0000300 |
«Очарованный рисунок» (англ. The enchanted drawing, 1900) — немой короткометражный фильм режиссёра Джеймса Стюарта Блэктона. Фильм снят на студии Vitagraph. Премьера состоялась 16 ноября 1900 года.
·
В ролях[править | править вики-текст]
· Джеймс Стюарт Блэктон — художник
Сюжет[править | править вики-текст]
Художник рисует голову и лицо. Потом рисует шляпу на голове, бутылку вина, бокал и сигарету во рту. Затем художник берёт предметы на полотне.
Художественные особенности[править | править вики-текст]
В фильме была впервые использована комбинированная анимация.
| The Enchanted Drawing | |
| The entire film | |
| Produced by | Vitagraph Studios, Thomas Edison |
| Starring | J. Stuart Blackton |
| Distributed by | Edison Studios |
| Release dates | November 16, 1900 |
| Running time | 2 minutes |
| Country | United States |
| Language | Silent film English intertitles |
The Enchanted Drawing is a silent film best known for containing the first animated sequences recorded on standard picture film, directed in 1900 by J. Stuart Blackton, who is because of that considered the father of American animation.
Contents[edit]
The film shows a man drawing a cartoon face on an easel. He draws a hat on the head and then a bottle of wine, a glass and a cigar. He then takes objects off the canvas and they go back into the image.
Technique[edit]
It is a combination of a silent film and stop motion animation.
| Позволь мне снова помечтать | |
| Let Me Dream Again | |
| Жанр | комедия |
| Режиссёр | Джордж Альберт Смит |
| Продюсер | Джордж Альберт Смит |
| Оператор | Джордж Альберт Смит |
| Кинокомпания | Урбан |
| Длительность | 44 сек. |
| Страна | Великобритания
|
| Год | |
| IMDb | ID 0000313 |
«Позволь мне снова помечтать» — немой короткометражный фильм Джорджа Альберта Смита. Дата премьеры неизвестна.
Сюжет[править | править вики-текст]
Сон одного человека путается. Вместо женщины он занимается флиртом с кроватью. Позже мужчина узнает отношения своей жены к нему.
В ролях[править | править вики-текст]
· Том Грин (актёр) — мужчина
· Джордж Альберт Смит — мужчина
Локации[править | править вики-текст]
Фильм снимался в Брайтон-энд-Хоув.
| Let Me Dream Again | |
Screenshot from the film
| |
| Directed by | George Albert Smith |
| Produced by | George Albert Smith |
| Starring | Tom Green Laura Bayley |
| Cinematography | George Albert Smith |
| Production company | G.A. Smith |
| Distributed by | Warwick Trading Company |
| Release dates | · August 1900 |
| Running time | 1 minute 16 secs |
| Country | United Kingdom |
| Language | Silent |
Let Me Dream Again is a 1900 British short silent drama film, directed by George Albert Smith, featuring a man dreaming about an attractive young woman and then waking up next to his wife. The film, according to Michael Brooke of BFI Screenonline, "is an excellent example of an early two-shot film, and is particularly interesting for the way it attempts a primitive dissolve by letting the first shot slip out of focus before cutting to the second shot, which starts off out of focus and gradually sharpens." The film was remade by Ferdinand Zecca for Pathé as Dream and Reality (1901).
| Самый невозможный способ лечь спать | |
| Le déshabillage impossible | |
| Жанр | фантастика комедия |
| Режиссёр | Жорж Мельес |
| В главных ролях | Жорж Мельес |
| Кинокомпания | Star Film |
| Длительность | 2 мин. |
| Страна | Франция
|
| Год | |
| IMDb | ID 0225583 |
«Самый невозможный способ лечь спать» (фр. Le déshabillage impossible) — немой короткометражный фильм Жоржа Мельеса, снятый в 1900 году. Премьера в США состоялась в 1903 году.
Сюжет[править | править вики-текст]
Мужчина входит в гостиницу, в свой номер. Он снимает одежду и шляпу, вешает их на гвоздь, но тут же замечает, что одежда снова на нём. Он снимает пиджак во второй раз, но тот мгновенно возвращается. Он приходит в ярость. Чем быстрее он раздевается, тем быстрее его одежда возвращается на его тело. Он качается по полу, затем на кровати, и,наконец, с ним происходит эпилептический припадок.
В ролях[править | править вики-текст]
· Жорж Мельес
| Going to Bed Under Difficulties | |
| Directed by | Georges Méliès |
| Release dates | · 1900 |
| Running time | 1min 30secs |
| Country | France |
| Language | Silent |
Le Déshabillage impossible, released in the United States as Going to Bed Under Difficulties and in the United Kingdom as An Increasing Wardrobe, is a 1900 French short silent comedy film, directed by Georges Méliès. In the film, a man attempts to undress so he can go to sleep.
Plot[edit]
A man in a hotel room wants to sleep for the night. He takes off his suit (placing it on a clothing rack) and his trousers (placing them on a chair), but then finds himself wearing a coat and hat that have appeared magically. The man removes them, but a new hat and a plaid pair of trousers appear in their places. He removes these clothes as well; this process repeats, with the man undoing each addition of clothing with more and more agitation.
The end of the film is lost; according to a contemporary catalogue description, the man's attempt to undress ends with him rolling about on the floor and on the bed, and finally collapsing in an epileptic fit.[1]
Production and release[edit]
Méliès plays the man in the film. An editing effect called the stop trick was used for the magically appearing clothes.[2] An American catalogue mentions that the end of the film also usesfast motion photography as a special effect; if so, it is the only known Méliès film to do so. (It is difficult to verify whether fast motion was used at the end, since the last few seconds appear to be missing from the surviving print.)[2]
The film was released by Méliès's Star Film Company and numbered 312–313 in its catalogues.[3]
Historical significance[edit]
Going to Bed Under Difficulties marks the first use of the sight gag in which a character, trying to undress, is foiled by magically appearing clothes. The gag was frequently recycled by rival studios over the following few years in a series of close imitations of the Méliès film, with titles such as Undressing Impossible (1901), Clothes Enchanted (1901), Undressing Extraordinary (1901), and The Inexhaustible Wardrobe (1902).[4]
The broader concept on which the film is founded, that of clothes on revolt, had previously appeared in Méliès's film The Bewitched Inn. [2] The film historian Paolo Cherchi Usai notes that the film evokes the concept of a split personality, a constantly recurring theme in Méliès's work:
Méliès, constantly torn between unabashed playfulness and sheer perfectionism, was obsessed by the idea of multiple identity. He was so aware of his multiplicitous personality that he staged a revealing and somehow disturbing parody of himself in Going to Bed under Difficulties (1900), in which he tries to undress and sleep while different clothes in various styles systematically appear, at increasing speed, upon his body.[5]
| Современный спиритуализм | |
| Spiritisme abracadabrant | |
| Режиссёр | Жорж Мельес |
| В главных ролях | Жорж Мельес |
| Кинокомпания | Star Film |
| Длительность | 2 мин. |
| Страна | Франция
|
| Год | |
| IMDb | ID 0227536 |
«Современный спиритуализм» (фр. Spiritisme abracadabrant) или «Волшебный спиритуализм» — немой короткометражный фильм Жоржа Мельеса, снятый в 1900 году. Премьера в США состоялась лишь в 1903 году.
Сюжет[править | править вики-текст]
.
В ролях[править | править вики-текст]
· Жорж Мельес
Интересные факты[править | править вики-текст]
· Фильм считается римейком фильма Самый невозможный способ лечь спать.
| Человек-оркестр | |
| L'Homme orchestre | |
| |
| Жанр | комедия |
| Режиссёр | Жорж Мельес |
| Продюсер | Мельес, Жорж |
| Автор сценария | Мельес, Жорж |
| Кинокомпания | Стар фильм |
| Длительность | 1 мин |
| Страна | Франция
|
| Язык | немое кино |
| Год | |
| IMDb | ID 0135453 |
«Человек-оркестр» (фр. L'Homme orchestre) — немой короткометражный фантастический фильм Жоржа Мельеса. Премьера состоялась во Франции 1900 года.
Сюжет[править | править вики-текст]
Дирижёр клонируется и управляет оркестром из самого себя.
Мужчина (Жорж Мельес) расставляет стулья и мультиплицируется. Позже каждый из клонов начинает играть, создавая настоящий оркестр. Потом все клоны входят в мужчину и стулья исчезают.
В ролях Жорж Мельес — дирижёр
Художественные особенности[править | править вики-текст]
Мельес прозвал это клонирование «трюком ради трюка».
Критика[править | править вики-текст]
Фильм оценили как красивый, созданный мастером кинематографа.
| The One-Man Band | |
| |
| Directed by | Georges Méliès |
| Release dates | |
| Running time | Short |
| Country | France |
| Language | Silent film |
The One-Man Band (French: L'homme orchestre) is a short silent film created and released in 1900 and directed by Georges Méliès.
Synopsis[edit]
By sitting in a row on chairs, a man (Georges Melies) multiplies to form a playing band. He then returns to each of his twins, removes the chairs and then disappears.
| Что видно в телескоп | |
| As Seen Through a Telescope | |
| |
| Жанр | комедия |
| Режиссёр | Джордж Альберт Смит |
| Оператор | Джордж Альберт Смит |
| Страна | Великобритания
|
| Год | |
| IMDb | ID 0000272 |
«Что видно в телескоп» (англ. As Seen Through a Telescope, 1900) — английский короткометражный художественный фильмДжорджа Альберта Смита.
Сюжет[править | править вики-текст]
Старик, идущий по дороге, замечает парочку на велосипеде. Парочка останавливается, а старик наставляет на них свой телескоп. Он видит увеличенное изображение шнуровки ботинка. Молодой человек, заметив отражение света в телескопе, подошёл к старику и натянул ему шляпу на глаза. Старик падает в канаву, а телескоп разбивается.
Источники[править | править вики-текст]
Ж. Садуль. Всеобщая история кино. Том 1. - М.:«Искусство», 1958.
| As Seen Through a Telescope | |
Screenshot from the film
| |
| Directed by | George Albert Smith |
| Produced by | George Albert Smith |
| Cinematography | George Albert Smith |
| Production company | G.A. Smith |
| Distributed by | Warwick Trading Company |
| Release dates | · September 1900 |
| Running time | 42 secs |
| Country | United Kingdom |
| Language | Silent |
As Seen Through a Telescope (AKA: The Professor and His Field Glass) is a 1900 British short silent comedy film, directed by George Albert Smith, featuring an elderly gentleman getting a glimpse of a woman's ankle through a telescope. The three-shot comedy, according to Michael Brooke of BFI Screenonline, "uses a similar technique to that which G.A. Smith pioneered in Grandma's Reading Glass (1900)," and although, "the editing is unsophisticated, the film does at least show a very early example of how to make use of point-of-view close-ups in the context of a coherent narrative (which is this film's main advance on Grandma's Reading Glass)." "Smith's experiments with editing," Brooke concludes, "were ahead of most contemporary film-makers, and in retrospect it can clearly be seen that he was laying the foundations of film grammar as we now understand it."[1][2]
Production[edit]
The film was shot in Furze Hill, Hove, England outside the entrance to St. Ann's Well Gardens, where Smith had his studio.
Synopsis[edit]
An old gentleman is shown on a village street, looking for something through a field glass. Suddenly, he levels the glass on a young couple coming up the road. The girl's shoe string came loose, and her companion volunteers to tie it. Here the scene changes, showing how it looks through the old man's glass. A very pretty ankle at short range. Scene changes back again and shows the old fellow tickled to death over the sight. The couple, who, by the way, caught "Peeping Tom," come toward him, and as the young man passes behind him, he knocks off his hat and kicks the stool on which he is sitting, from under him, making the old chap present a rather ludicrous appearance, as he sits in the street
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