Roman s kontrabasom / Romance with a Double Bass
R: Kai Hansen. B: Anton Chekhov (short story “Roman s kontrabasom”, 1886), Cheslav Sabinsky. K: Joseph-Louis Mundwiller. D: Vera Gorskaya, Nikolai Vasilyev. P: Pathé. RUS / Fr 1911
“Charles Musser, in ‘The Emergence of Cinema’, mentions a number of American comedies in which women’s bodies are exposed for the pleasure of male audiences. This one differs slightly from that earthy tradition. For one thing, it’s based on a Chekhov short story, suggesting that even where light comedy was concerned, Russian audiences wanted to class up the movies with a little culture. For another, the man in this story is also deprived of clothing, although his embarrassment is not lingered over as much. It’s hard to imagine that female audiences found his skinny frame as interesting as the men found the princess, either. Finally, in the movies Musser mentions, the father is often also the butt of some Oedipal prank, as where the escaping boyfriend topples the peeping father from a ladder in How the Athletic Lover Outwitted the Old Man, but here the father is an agent of the girl’s humiliation.”
Century Film Project
Knyazhna Tarakanova / Princess Tarakanova
R: Kai Hansen / Maurice Maître. B: Cheslav Sabinsky, Ippolit Shpazhinsky (play). K: Joseph-Louis Mundwiller, Toppi. Ba: Mikhaylov, Cheslav Sabinsky. P: Pathé. RUS / Fr 1910
“Tarakanova claimed to be the daughter of Alexei Razumovsky and Empress Elizabeth of Russia, reared in Saint Petersburg. Even her place of birth, however, is not certain, and her real name is not known. She is known to have traveled to several cities in Western Europe; she became a mistress of Philipp Ferdinand of Limburg Stirum and lived off his money in the hope that the count would marry her.
She was eventually arrested in Livorno, Tuscany by Alexei Grigoryevich Orlov, who had been sent by Empress Catherine II to retrieve her. Orlov seduced her, then lured her aboard a Russian ship, arrested her, and brought her to Russia in February 1775. She was imprisoned in the Peter and Paul Fortress, where she died of tuberculosis that December. She was buried in the graveyard of the Peter and Paul Fortress.
A popular theory postulates that her death was faked and she was secretly forced to take the veil under the name “Dosifea.” This mysterious nun was recorded as living in Ivanovsky Convent from 1785 until her death in 1810.”
“Over all, the production here is very stagey, with stationary cameras and scenes shot in single takes. The movie is based on a stage production, and most of the actors make no effort to adapt their acting style for the lack of sound – they just seem to mouth their lines and make the same kinds of motions they would on stage. The exception is V. Mikulina, who played the hapless princess. For most of the movie, we get the impression of a sort of haughty assurance that everyone will realize their mistake, and finally she hams it up gloriously, especially for her (first) death scene, where we get the impression that it was the untimely visit by Orlov that brought about the tubercular attack. Another issue with the movie is that it depends a great deal on written documents to replace the dialog. Every few minutes, Orlov is ending a letter, or Catherine is issuing a decree, so that the audience can be informed of what is happening. Later Russian filmmakers, such as Evgeni Bauer, would avoid such devices where possible.”
Century Film Project
>>> Jevgenij Bauer on this website: Jevgenij Bauer-1, Jevgenij Bauer-2 Jevgenij Bauer-3,
Zavod Rybnykh Konservov v Astrakhani / Fish Factory in Astrakhan
R: Unknown. P: Pathé. RUS / Fr 1908
“A Fish Factory in Astrakhan is part of the Pathé Frères series ‘Picturesque Russia’, typical of their efficient documentary style. The company had established a Moscow equipment and sales office in 1904, which also rented their French-made films to Russia’s burgeoning cinema network. It was the emergence of Drankov as the first self-declared indigenous producer that prompted Pathé to start production in Russia in February 1908.”
“Actualities made by foreign companies, like Pathé’s A Fish Factory in Astrakhan stimulated a demand for home-produced films which was finally answered by the enterprising Drankov. His Sten’ka Razin (1908) enjoyed immense success as the first Russian dramatic film. Pathé responded by increasing production at their Moscow studio, with art films like Princess Tarakanova (1910) and the first Chekhov adaptation, Romance with Double-Bass (1911).”
“A Fish Factory in Astrakhan (1908), one of the series called ‘Picturesque Russia’, is an early travelogue common in the first years of Russian cinema. (…) The camera lingers on the docks along the Volga deltas, the boats, fisherman, stevedores, cleaners, scalers, salters – women and Bashkirs prominent among them – at work in providing the fish delicacies that we will see being devoured with champagne and voka in films about the haute monde.”
Richard Stites: Passion and Perception: Essays on Russian Culture. New Academia Publishing, LLC, 2010, p. 291
>>> Stenka Razin on this site
The Greater Love
R: Rollin S. Sturgeon. D: Robert Thornby, Fred Burns, Edna Fisher, Charles Bennett. P: Vitagraph Company of America. USA 1912
Print: EYE (Desmet collection)
“In the opening scene, as a young ranch woman teases the local sheriff who loves her, a wanted poster introduces the Kansas Kid. Using a set of binoculars, she spots the injured outlaw coming down a distant hillside, and the sheriff, with her father’s help, brings him into the ranch house, where she bandages his head wound. They are attracted to one another, which incites the sheriff, and she has to break up a threatened gunfight. After writing a note revealing who he is , the Kid rides away; chancing to read the note, the sheriff goes in pursuit. Noticing the sheriff in the distance, the Kid attaches a note on a stick, which leads the sheriff to an open area, where they face off on horseback. In the gunfight that ensues, the Kid wounds the sheriff and discovers a photo of the young woman in his hand. Now the Kid bandages his rival, brings him back to the ranch, and, as the sheriff’s men look on, gives him a drink of water from a rain barrel. The sheriff shakes hands with the Kid, and the young woman and her father thank him; but the sheriff’s men still arrest the Kid and lead him away.
This surviving film print includes a range of tinting characteristic of the period, which differentiates one time of day from another as well as exteriors from interiors. It also uses a series of objects to effectively highlight key moments in the story : the wanted poster, a rain barrel, a flower, several written notes, and a photograph. Finally, like Essanay’s slightly earlier The Loafer, this Vitagraph film deploys eyeline-match editing, in not one but two scenes: the first involving the sheriff and the young woman; the second (with one mismatch), the gunfight between the sheriff and the Kid.”
Le giornate del cinema muto
Pordenone 1-8 ottobre 2016, p. 178 (PDF)
An eyeline match is a film editing technique associated with the continuity editing system. It is based on the premise that an audience will want to see what the character on-screen is seeing. An eyeline match begins with a character looking at something off-screen, followed by a cut of another object or person.
The Days of Terror
R: Charles Kent. D: Charles Kent, Julia Swayne Gordon, Leo Delaney, Leah Baird, Maurice Costello, Helene Costello, Mary Navarro. P: Vitagraph Company of America. USA 1912
Print: EYE (Desmet collection)
“During the French Revolution, the Duke and Duchess of Bérac are captured by a mob. The Duchess agrees to marry one of their leaders in order to save her husband’s life. But her husband finds out about this, and forbids the Duchess to do so. The girlfriend of this leader takes revenge when she learns the truth, and stabs him. The two Béracs then proceed to the guillotine with their heads held high.”
“A romantic picture of the French Revolution from the aristocratic viewpoint; it chooses a duke and duchess for its hero and heroine, while its villain is a minion of Robespierre. There are scenes of palace life and of life in the underworld of the Parisian slums. Mr. Chas. Kent is the duke; Julia Swayne Gordon is the duchess; Mr. Delany plays the villain’s part; Miss Leah Baird plays the lead in the counterplot; is his low sweetheart who stabs him because of his intrigue to get the beautiful duchess. In one scene, the mob, attacking the duke’s palace, gave a decided thrill. It is a good picture; not because of its plot, but because of its characters and good acting. It has good photography.”
The Moving Picture World, June 29, 1912
>>> Charles Kent’s Shakespeare films on this website: Florence Turner
Lieutenant Rose and the Chinese Pirates
R: Percy Stow. D: P.G. Norgate. P: Clarendon. UK 1910
German titles, Engl. subtitles
“While Lieutenant Rose is busy entertaining two ladies, villainous Chinese pirate Ling Hoo attacks and kidnaps all three. Tied up and locked in an old temple dungeon, can Rose find a way to escape before the trio are drowned? This silent adventure series combines crude but fun trick shots with plenty of action and derring-do.
The intrepid Lieutenant Rose featured in a popular series of adventures made by prolific British director Percy Stow. Like many films from the era, the depiction of the Chinese pirates is deeply caricatured, revealing the prejudices of the film’s British makers. The film only survives in this German print.”
>>> films by Percy Stow on this site: Alice in Wonderland, Suffragettes Satire
Tartans of the Scottish Clans
R: George A. Smith. P: Kinematograph Company. UK 1906
Woman Draped in Patterned Handkerchiefs
R: George A. Smith. P: Kinematograph Company. UK 1908
“From 1906, G.A. Smith devoted the rest of his film career to experimenting with colour. Although colour films had already been available for many years, they were usually created via a stencil system that involved them literally being coloured in by hand, whereas Smith’s was the first colour system that attempted to capture natural colours without any post-production intervention.
The Kinemacolor system was based on 35mm black and white film, with both camera and projector running at double the normal speed. Each was fitted with a rotating wheel, exposing each frame to either a red or green filter. Although this produced an unwelcome side-effect of red-green fringing on fast-moving subjects, the system was otherwise surprisingly effective.
Tartans of Scottish Clans was one of Smith’s first Kinemacolor experiments, a very simple idea (essentially, a sequence of Scottish tartan cloths, each appropriately labelled) which nonetheless demanded colour in order to convey the necessary information.
(Woman Draped in Patterned Handkerchiefs): A woman displays assorted tartan cloths, both draped on her body and waved semaphore-style. These are presumably the same cloths featured in Tartans of Scottish Clans (1906), this time shown from various angles.”
More about Kinemacolor:
Timeline of Historical Film Colors
Created, developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich
>> Charles Urban, the founder of the Natural Color Kinematograph Company, on this site: Colonial Travelogue: Jamaica