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These strikingly sharp scenes from Belfast present familiar thoroughfares including Bedford Street and Donegall Place. Fashionable residents peruse upmarket shops and we also glimpse passing horse-drawn transport to the Ormeau and Malone Roads. The film appeared as part of a show at the Ulster Hall in May 1901 and billboards advertising the event appear in shots of Royal Avenue.
| Скрудж, или Призрак Марли | |
| Scrooge; or Marley's Ghost | |
| Жанр | драма / фэнтези |
| Режиссёр | Уолтер Буф |
| Продюсер | Р.У. Пол |
| Автор сценария | Чарльз Диккенс |
| Кинокомпания | Paul’s Animatograph Works |
| Длительность | 11 мин |
| Страна |  Великобритания
|
| Язык | немое кино |
| Год | |
| IMDb | ID 0000370 |
«Скрудж, или Призрак Марли» (англ. Scrooge; or Marley's Ghost) — немой короткометражный фильм режиссёра Уолтера Буфа по мотивам повести Чарльза Диккенса. Самая ранняя киноверсия «Рождественской песни». Премьера состоялась в Великобритании в ноябре 1901 года.
О фильме[править | править вики-текст]
Фильм снят в на 35-миллиметровой чёрно-белой плёнке (до нашик дней сохранилось только 620 футов) пионером английского кинематографа Р. У. Полом и режиссёром Уолтером Буфом. Как было общепринято на заре кинематографа, режиссёр решил адаптировать уже хорошо известную историю, в данном случае «Рождественскую песнь» Чарльза Диккенса, в убеждении, что знакомство зрителя с историей позволит сократить количество титров.
Фильм был показан королю Эдуарду VII и королеве Александре в Сандрихемском дворце в ноябре 1901 года в Королевской комнате.
Сюжет[править | править вики-текст]
Эбенезера Скруджа пугает призрак Марли. Позже к Эбенезеру начинают приходить духи Прошлого, Настоящего и Будущего
Художественные особенности[править | править вики-текст]
Фильм наделён впечатляющими эффектами. Некоторые сцены были окрашены.
Интересные факты[править | править вики-текст]
· Фильм сохранился не весь. Продолжительность фильма была 5 минут, но до наших дней сохранилось только 3 мин. Самая старая полностью сохранившаяся экранизация Рождественской песни — это немой короткометражный фильм Дж. Сирла Доули «Сочельник» 1910 года
| Scrooge, or, Marley's Ghost | |
| Directed by | Walter R. Booth |
| Produced by | Robert W. Paul |
| Written by | Charles Dickens J.C. Buckstone |
| Based on | A Christmas Carol by Charles Dickens |
| Production company | Paul's Animatograph Works |
| Release dates | · November 1901 |
| Running time | 6 mins 20 secs |
| Country | United Kingdom |
| Language | Silent |
Scrooge, or, Marley's Ghost is a 1901 British short silent drama film, directed by Walter R. Booth, featuring the miserly Ebenezer Scroogeconfronted by Marley's ghost and given visions of Christmas Past, Present and Future, which is the oldest known film adaptation of Charles Dickens' 1843 novel A Christmas Carol. The film, "although somewhat flat and stage-bound to modern eyes," according to Michael Brooke of BFI Screenonline, "was an ambitious undertaking at the time," as, "not only did it attempt to tell an 80 page story in five minutes, but it featured impressive trick effects, superimposing Marley's face over the door knocker and the scenes from his youth over a black curtain in Scrooge's bedroom."[1]
The film[edit]
Filmed in 35mm and in black and white, only 620 feet of this silent film's footage survives today. It was produced by the English film pioneerR. W. Paul, and directed by Walter R. Booth and was filmed at Paul's Animatograph Works. It was released in November 1901. As was common in cinema's early days, the filmmakers chose to adapt an already well-known story, in this case A Christmas Carol by Charles Dickens, in the belief that the audience's familiarity with the story would result in the need for fewer intertitles.[2] It was presented in 'Twelve Tableaux' or scenes.[3] The film contains the first use of intertitles in a film.[4]
Evidence suggests that Paul's version of A Christmas Carol was based as much on J. C. Buckstone's popular stage adaptation Scrooge as on Dickens' original story. Like the play, the film dispenses with the different ghosts that visit Scrooge, instead relying upon the figure of Jacob Marley, draped in a white sheet, to point out the error of Scrooge's ways. The film featured impressive trick effects by 1901 standards, superimposing Marley's face over the door knocker, and displaying the scenes from his youth on a black curtain in Scrooge's bedroom. R. W. Paul was a trick film specialist; Walter Booth, credited as the film's director, was a well-known magician as well as a trick and comic film specialist.[2] The film makes early use of dissolving between scenes. Some scenes are tinted.
The film was shown to King Edward VII and Queen Alexandra at Sandringham House in December 1901 in a Royal Command Performance.[3]
Content[edit]
The only known surviving footage, about 4 minutes and 55 seconds in length, is preserved by the British Film Institute. This footage starts with Bob Cratchit showing someone out ofScrooge's office on Christmas Eve, just before he and Scrooge leave for the night, and ends at a scene showing the death of Tiny Tim. The film does not show the Ghosts of Christmas Past, Christmas Present or Christmas Yet to Come, instead relying on the ghost of Marley to present the visions to Scrooge.[3] The actor who played Scrooge in the film has not yet been identified.
1901 - Sedgewicks' Bioscope Show Front
This film is part of the Mitchell and Kenyon collection - an amazing visual record of everyday life in Britain at the beginning of the twentieth century
| Держи вора! | |
| Stop Thief! | |
| Режиссёр | Джеймс Уильямсон |
| Автор сценария | Джеймс Уильямсон |
| В главных ролях | Сэм Дэлтон |
| Кинокомпания | Williamson Kinematograph Company |
| Страна | Великобритания
|
| Год | |
| IMDb | ID 0132534 |
«Держи вора!» (англ. Stop Thief!, 1901) — английский короткометражный художественный фильм Джеймса Уильямсона.
Сюжет[править | править вики-текст]
По тихой улице мимо мясника, несущего на плече корзину, проходит бродяга. Бродяга выхватывает корзину и убегает. Мясник бросается за ним. В следующей сцене показана улица, по которой пробегает бродяга, за ним собаки и мясник. Далее бродяга бегает вокруг большой бочки, спасаясь от преследователей, потом прыгает в бочку, собаки за ним. Маленькие собаки остаются снаружи и лают. Прибегает мясник, вытаскивает бродягу и кости от мяса.
Художественные особенности[править | править вики-текст]
Это первый пример «погони» в кино, не считая «Красной Шапочки» Мельеса[1] (там речь шла о театральном преследовании, вокруг декораций; здесь же погоня ведется сразу в трех последовательных планах).
В ролях[править | править вики-текст]
Сэм Дэлтон — Бродяга
| Stop Thief! | |
Screenshot from the film
| |
| Directed by | James Williamson |
| Produced by | James Williamson |
| Starring | Sam Dalton |
| Cinematography | James Williamson |
| Production company | Williamson Kinematograph Company |
| Release dates | · October 1901 |
| Running time | 1 min 6 secs |
| Country | United Kingdom |
| Language | Silent |
Stop Thief! is a 1901 British short silent drama film, directed by James Williamson, showing tramp getting his come-uppance after stealing some meat from a butcher and his dogs. "One of the first true 'chase' films made not just in Britain but anywhere else", according to Michael Brooke of BFI Screenonline. It was released along with Fire! (1901), "indicating the direction Williamson would take over the next few years, as he refined this new film grammar to tell stories of unprecedented narrative and emotional sophistication."[1]
Review[edit]
BFI Screenonline reviewer Michael Brooke points out that it, "features three sequential shots depicting continuous high-speed dramatic action and a fully worked-out narrative with a clear beginning (the tramp's theft of the joint of meat), middle (the chase through the village), end (his violent comeuppance after hiding in a large barrel), dramatic irony (the joint is reduced to a bare bone by the dogs who are ostensibly helping the butcher) and a witty punchline (the butcher uses the bone as a club with which to prolong the tramp's agonies)." "Another relative innovation is that despite this relative complexity (at least for the time), Stop Thief! is completely comprehensible without any intertitles or accompanying context-setting explanation, the film's title summing up both the situation and giving voice to the only words uttered on screen."
| The Big Swallow | |||
| |||
| Большой глоток | |||
| The Big Swallow | |||
| Жанр | комедия | ||
| Режиссёр | Джеймс Уильямсон | ||
| Автор сценария | Джеймс Уильямсон | ||
| В главных ролях | Сэм Дэлтон | ||
| Оператор | Уильямсон, Джеймс | ||
| Кинокомпания | Williamson Kinematograph Company | ||
| Страна | Великобритания
| ||
| Год | |||
| IMDb | ID 0202815 | ||
«Большой глоток» (англ. The Big Swallow, 1901) — английский короткометражный художественный фильм Джеймса Уильямсона.
Сюжет[править
Джентльмен замечает, что фотограф под чёрной накидкой, собирается его снять. Он ему велит уходить, приближается все ближе, жестикулируя и крича, пока наконец его голова, а потом рот занимают весь экран. Он открывает рот и в нём исчезают сначала аппарат, а за ним и сам фотограф. Он удаляется, жуя.
Художественные особенности
Этот фильм — один из первых примеров применения в драматических целях передвижения действующего лица из глубины кадра на зрителя.
В ролях
· Сэм Дэлтон
Источники
1. ↑ Ж. Садуль. Всеобщая история кино. Том 1. — М.: «Искусство», 1958.
| The Big Swallow | |
| Directed by | James Williamson |
| Starring | Sam Dalton |
| Cinematography | James Williamson |
| Production company | Williamson Kinematograph Company |
| Release dates | · October 15, 1901 |
| Running time | 1 min 8 secs |
| Country | United Kingdom |
| Language | Silent |
The Big Swallow (AKA: A Photographic Contortion) is a 1901 British short silent comedy film, directed by James Williamson, featuring a man, irritated by the presence of a photographer, who solves his dilemma by swallowing him and his camera whole. The three-shot trick film is, according to Michael Brooke of BFI Screenonline, "one of the most important early British films in that it was one of the first to deliberately exploit the contrast between the eye of the camera and of the audience watching the final film."[1]
Reviews[edit]
BFI Screenonline reviewer Michael Brooke points out that despite being, "less bitten by the trick-film bug than his contemporaries," the director, "made one of the most striking genre entries," taking the concept of the concept of extreme close-up photography pioneered byGeorge Albert Smith in Grandma's Reading Glass and Spiders on a Web (both 1900), "a stage further by featuring a man advancing towards the camera, remaining in more or less perfect focus until his mouth appears to swallow the lens."
Although the director's, "purpose was primarily comic (and doubtless inspired by unwanted attention from increasingly savvy passers-by while filming his actuality shorts)," he creates, "one of the most striking genre entries," and, "makes imaginative use of an extreme close-up to create one of the seminal images of early British (and world) cinema, as effective in its way as the slashed eyeball of Un Chien Andalou (1929), and of just as much appeal to the Surrealist movement."
The film, however, "might have been still more effective if Williamson had omitted the second and third shots," in which he, "cuts to the photographer apparently disappearing into a black void, and then back to the man who retires munching him up and expressing great satisfaction, "since they detract from the logical purity of the first, ending on a completely blank screen as the swallowed camera is no longer able to function as a surrogate for the audience's point of view."[1]
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