Segundo de Chomón

Une nuit épouvantable
R: Segundo de Chomón. P: Pathé Frères. Fr 1905
Print: Filmoteca de Catalunya

Le roi des Dollars
R: Segundo de Chomón. P: Pathé Frères. Fr 1905
Print: Nederlands Filmmuseum

Le Courant Eléctrique
R: Segundo de Chomón. P: Pathé Frères. Fr 1906
Print: Filmoteca de Catalunya

Le Sorcier Arabe
R: Segundo de Chomón. P: Pathé Frères. Fr 1906

El Hotel Electrico
R: Segundo de Chomón. D: Julienne Mathieu. P: Pathé Frères. Fr/Sp 1908

“Together with his fellow Aragonese filmmaker Luis Buñuel, Segundo de Chomón (Teruel, 1871 -Paris, 1929) is one of the foremost Spanish names in the history of cinema, working in over 500 films both in Spain and abroad. A cosmopolitan, multifaceted creator, Segundo de Chomón studied engineering, but his professional life took a complete turn between 1895 and 1897 following a trip to Paris. There he discovered cinema, the spectacular invention by the Lumière brothers. Fascinated by the new idiom he soon became one of the key figures in the origins and development of the early film industry, and was hired by the major film companies of the time – the Pathé Frères laboratories (France) or Itala Films (Italy) – where he worked as a technician in big movies such as Vittoria o morte (1913) and Cabiria (1914), by Giovanni Pastrone and Napoleon (1927), by Abel Gance.
Segundo de Chomón was conversant with almost all the different processes involved in the creation of a movie, like hand colouring black and white stills, signwriting for posters, a camera operator, director of photography, film editor, producer, scriptwriter, director and, very especially, as a director of special effects. It was in this last – named area that he received greatest international recognition, thanks to the enormous repertoire of effects he conceived, invented and developed, for instance the use of tracking shots in indoor sets (Life and Passion of Jesus Christ, F. Zecca, 1907), the use of scale models (he made his own camera and filmed a movie using this effect, his short from 1902 Collision of Trains), Schüfftan effects, double exposure, expressionist lighting, dissolves, transparent backdrops, pyrotechnics and the spectacular use of speed in ‘paso de manivela’, or stop motion, which he experimented with in Eclipse de sol (1905) and perfected in the wonderful piece El Hotel eléctrico from 1905 (filmed still by still and surely a source of inspiration for the famous The Haunted Hotel, 1908, by Stuart Blackton). He also contributed to the creation of a solid film industry in Spain, in which he was active at the beginning of the 20th century with the Catalan production company Hispano Films before joining up with Joan Fuster Garí to create an extensive filmography in popular genres: documentaries, fantasy, melodramas, historical dramas, zarzuelas and comedies. Equally noteworthy are his collaborations with renowned Spanish directors like Benito Perojo (El negro que tenía el alma blanca, 1927).”
Acknowledgements: Juanma Prieto Taladriz and Gonzalo Montón, Director of the magazine Cabiria
Laboral/Centro de Arte y Creación Industrial

“When Chomon was being most original, he had a greater poker-face than Melies & went for awe & beauty rather than the comedic. But for The Electric Hotel he adheres to comic fantasy in the manner of Melies.. Qualifying as early science fiction, the latest in hotel experience is complete automation. While a man & wife (Segundo himself, with his actual wife Julienne Mathieu) check in, their suitcases travel under their own power to their room. Their bags unpack themselves before our couple reaches their room. The woman is clad in conservative long dress of the age, but the guy is wearing a wacky spotted knickers outfit & ridiculous hat to underscore the absurd. The gentleman seats himself for an automatic shoe-shining from an animated shoe-brush. He also gets an automated shave from flying shaving brush & razor, & his hair trimmed nicely. The lady meanwhile has her coat & hat taken automatically from her & put away. She seats herself in a chair that moves her into better light. An automatic brush takes down her hair, brushes it out, & puts it back kup for the night. The stop motion technique is extremely well done. But in the basement, due to a drunkard at the control panels, the electrical dynamo is short circuited. Our couple’s room begins to shift wildly, all the furnishings becoming dangerously mobile, the alarmed couple riding round & round on crazily active furnishings.”
Paghat the Ratgirl