Camille de Morlhon

Le fils du pêcheur
R: Camille de Morlhon. P: Pathé Frères. Fr 1910

“Given the late date of this movie, it’s interesting to see the basic shots of early actualities edited and reshaped into a narrative.”
IMDb (boblipton)

La petite rosse
R: Camille de Morlhon. B: Camille de Morlhon. D: Max Linder, Arlette d’Umès. P: Pathé Frères. Fr 1909

“Early in 1909 (…) Linder found himself the beneficiary of two propititious events. At the end of 1908, a new Italian company, Itala Film, had lured Deed away from Pathé, thus depriving the studio of its premier comic series. Shortly thereafter, Gasnier returned from Italy with plans to star Linder in a series of his own. Having lost both Gréhan and Deed, Pathé was understandably receptive to the idea. In the films that followed, Linder, though still playing different characters from film to film, found a pattern for comic business in which, as Robinson has observed, the humor sprang from the clash between his character’s affected self-confidence and his social and romantic ineptitude. In La Petite rosse, for example, Max’s foppish young man is courting an athletic woman who sets him a test before she will agree to marry him: he must learn to juggle three balls. After eight days of clumsy practice, he resorts to cheating by hiring a professional juggler to perform the feat for him. He arranges to demonstrate his newly acquired skill from behind a screen, but both audience and girl quickly figure out that the juggler’s arms extending from the side of the screen don’t belong to Max.”

Une excursion incohérente
R: Segundo de Chomón / Camille de Morlhon. B: Camille de Morlhon. P: Pathé Frères. Fr 1909

“This late version of MeliesThe Haunted Inn was the product of Segundo de Chomon and Camille de Morlhon – with, I suspect, the stop-motion animation of Emile Cohl.”
IMDb (boblipton)

“An aristocratic couple go on a trip. They stop to eat, but insects and other animals emerge from their picnic. It starts to rain and they take shelter in a house that turns out to be haunted and where all kinds of monsters lurk to terrorise the pair. A film made during Chomón’s time at Pathé (1905-1910) with sequences that demonstrate his use and mastery of the stop-motion or frame-by-frame filming technique in the animation of the objects, which is employed to work in parallel to the narrative.”
European Film Gateway

“At the time the model for upsetting such a bourgeois picnic was Manet’s ‘Le Déjeuner sur l’herbe’, a painting that shocked contemporaries. I think this is the tradition director Segundo de Chomón is working in, inspired by the revolution in painting that led up to surrealism, which was in turn a movement that had a natural affinity for film. (…) While the surrealists understood that the sleep of reason could bring forth monsters, we don’t often think of surrealism as horror. A razor blade cutting through an eyeball is shocking gore, even by today’s standards, but Un Chien Andalou isn’t a movie that fits into any subsequent horror conventions.
Panicky Picnic (or, more midly, Une Excursion Incohérente) presents itself as a lark, but we can clearly see the outlines of where horror movies would be going. The picnic brings to mind all kinds of rotten feasts. The inn might be our cabin in the woods. The spirits raised in the kitchen recall the labs of various shady wizards, going all the way back to the original film Frankenstein rising from an alchemist’s vat. The shadow play in the bedroom might lead us to think of Suspiria, to take just one later example.”
Alex Good
Alex on Film

Edouard Manet: Le déjeuner sur l’herbe, 1863

>>> Biography Camille de Morlhon (1869-1952) (French)