Archive for Georges Melies

A Continental Op

Posted in FILM, Science with tags , , , , , , on June 29, 2018 by dcairns

While Fiona slumbered, I headed to the showing of 1898 movies with a scientific bent. Fiona was rather put off by the advertised HYSTERECTOMIE ABDOMINALE; ABLATION DE LA TUMOUR. A friend pooh-poohed the prospects of graphic and upsetting images: “Well, they couldn’t show much in those days.” But the film turned out to be made for training purposes: almost before you’ve decided that you’re looking at a woman’s inverted abdomen, the surgeon has it sliced open and pulls from the interior a round, shiny object about the size of Cate Blanchett’s head, which he proceeds to clamp off and sever, flashing an ingratiating smile at the camera from time to time. And he looks a lot like James Robertson Justice from the DOCTOR films, too. “What’s the bleeding time?”

Later he successfully sued one of his cameramen for selling the film to carnies.

The same program, which was nothing less than varied, gave us a range of subjects from Meliés, including the expected trick films — I like L’HOMME DES TETES OU LES QUATRES TETES EMBARRASSENT because the title is so explicit.

The 1898 shorts are grouped (by curator Marianne Lewinsky) according to Meliés’ own system — he claimed the four genres are Scientific Scenes, Open Air Scenes, Dramatic Scenes and Fantastical Scenes. That does seem to cover most of the possibilities…

There was more graphic blood-letting in the evening with SUSPIRIA, looking more amazing than ever in its new restoration. It did bring up one of the few complaints you hear about Il Cinema Ritrovato: the duration of introductions. Here we had the cinematographer and the director of the forthcoming remake banging on for forty minutes, each lengthy observation requiring laborious translation. It would have made a fine seminar earlier in the day, but was too much for this venue. The thing that really upsets me is when they show something child-friendly in the Piazza Maggiore and you see kids falling asleep before the movie even starts, coshed by the somnolence-inducing pre-match analysis.

But all was forgiven once Argento (before he became a surprise hero of the #MeToo movement) started slashing up his cast. Incidentally, why is the first victim named “Pat Hingle”? If that’s a hommage, it’s a very strange one.

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Man in the Man in the Moon

Posted in FILM, Science with tags , , on August 22, 2017 by dcairns

At The Chiseler, a short but timely disquisition on George Melies’ film L’ECLIPSE DU SOLEIL ET PLEINE LUNE, over at The Chiseler. Contains smut.

The Sunday Intertitle: Playing War

Posted in FILM, Politics with tags , , , on January 11, 2015 by dcairns

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LA GUERRA E IL SOGNO DI MOMI (1917).

Giovanni Pastrone (CABIRIA) and Segundo de Chomon, the Spanish special effects genius, collaborated on this strange, wondrous and possibly wrongheaded attempt to show the First World War as imagined by a child safe at home while his father is at the front.

Chomon was a pioneer not only of mixing animation with live action, going one better than Melies whose films only SEEM like cartoons, he built the first camera dolly, and this movie features several elegant and beautiful tracking shots, reframing the action and enhancing the emotion.

Pastrone’s battle scenes are exciting and sophisticated in their use of film language (and are all embedded in the action as flashback scenes from a letter home).

The weirdness comes from the juxtaposition of these off elements. The live action war pays lip service to humanism while serving up the typical endangered women and children, ravaging huns, and righteous avengers who put everything right in the end. This was seems to have no real costs.

The animated was is sheer spectacle too, though we’re told that it’s the product of a child’s imagination after he’s been distressed by vivid accounts of warfare, The mass destruction IS kind of disturbing in spite of the funny puppets and Thunderbirds explosions, though. Robbed of the expressivity of human beings, these toy soldiers behave like automata, “only following orders,” their faces masklike and set in inappropriate dopey smiles. I guess the overall effect is as conflicted as you could hope for in a movie made while the war was still stuck in bloody stalemate. It can’t be anti-war because it adopts a simple goodies and baddies perspective, but it manages to avoid being overly enthusiastic about violence.

Its noblest aspect is that it fails as propaganda.