All language subtitles for Lumiere.Laventure.commence.2016.Thierry.Fremaux.1080p.WEBRip.AAC.x264.RIYE

BASED ON A CINEMATOGRAPHER Thierry Frémaux

ROLLED BY LOUIS LUMIÈRE AND IT'S OPERATORS

BETWEEN 1895 AND 1905

Midday, March 1895,

the doors of the Lumière factory
open.

In front of them there is a new invention:
the cinematographer.

It's on the sidewalk opposite.

What would Lumière say?
''Come on''? ''Action''?

There is no testimony or file,
but it is the inaugural gesture.

The women come out and then the men.
Almost nobody looks at the camera.

It was considered
the first movie in history,

although the people who saw it
I missed a horse carriage.

It did not matter. It was needed
a first movie and there it was.

Output
of the workers of the Lumière factory.

Until another one was found.

Is this also the first movie?

It's darker, but the framing
is the same. They are equal.

When they invented cinema,
They also invented the remake .

With the shadow it is observed
that the sun is not at its zenith.

It will be March.
The people wear warm clothes.

And what appears at the end of the movie?

A horse carriage!

This third version

it is, surely,
which was shot in March 1895.

We see the same characters,
to the dog and the bicycles.

Those who boast or play the fool
For call the atention

they show that it is a staging.

The adventure of cinema begins

with 17 meters of film,
35 millimeters wide,

and 50 seconds of an eternity
that still lingers.

Now that street is called
Street of the First Movie

and the first protagonist of the story
of the cinema was the people, the people.

In June 1895, Lyon welcomed
the French Congress of Photography.

A boat takes them
to Neuville-sur-Saône.

Lumière awaits you at the dock

and shoot the happy scientists.

Happy, but not for long.

The next day
the movie is projected.

From that day,

all these inventors comprise
that the cinema has just been invented ..

The cinematographer of the Lumière
It is the best device of all.

This is Baby food ,

one of the first
and best known movies.

On the left is Auguste Lumière,
who acts while his brother films.

On the right are
his wife Marguerite and his daughter Andrée.

What impressed people
it was the movement of the leaves,

because cinema means movement,
I do not like photography.

The image moves.

This movie
It is framed to perfection.

We can see below on the right

a bottle of cognac, which proves
which is a French lunch,

a movie lunch.

Is this movie a documentary?
The idea is simple.

A blacksmith and his assistant
engravings from opposite.

Lumière surely
he was inspired by some images of Edison.

Here, thanks to its sharpness,

the scene is so realistic
that we seem to hear the hammer blows.

The red hot iron in the water produces
a superb smoke that fills the screen.

It's a documental? The blacksmith
He is dressed in a shirt and tie.

Also, in the end
someone brings him a glass of alcohol.

With Lumière
everything is staged ..

Here is the first work of fiction,
the first comedy.

One of the most famous movies,
known as The irrigated irrigator .

A joke by the young Edouard Lumière

it became the water jet
most famous in the history of cinema ..

Look good.
The gardener chases the rogue

not only to pull you by the ears,
but to bring it to the camera.

Add some slaps
so that the movie lasts 50 seconds,

and in the end the boy
Looks fleetingly at the camera.

In 1892,
Cézanne painted The card players .

Four years later,
Lumière rueda Game of cards

following that composition.

A movie that shows us
on the left to Antoine Lumière,

father of the Lumière brothers,
playing with Alphonse Winckler,

father of the sisters
married to the Lumière brothers.

On the right is Félicien Trewey,
Family's friend,

what do I bring
the cinematograph to England.

The movie is a staging.

Watch the waiter
whom they asked to act.

It does not act, it overreacts.

The arrival of a train
to La Ciotat station

it was the first movie that scared
to the spectators

because they believed
that the train would go through the screen.

The movie caused a great sensation

and Lumière understood
that the cinema should be spectacular.

We see the Lumière family go by.

Beyond its fame, this film
It must be judged by its aesthetics.

Observe its composition,

how Lumière did
that the train entered diagonally,

thus splitting the screen in two.

White and light tones,
Bottom right

and top left,
the black and the dark tones.

Although some movies
they looked like documentaries,

They were not.

Look at this, Demolition of a wall ,

shot in Lyon-Monplaisir in 1897.

A wall falls. The movie
He wanted to impress and he succeeded.

Auguste Lumière acted
for Louis, who was the one who filmed.

There he is in front of the camera

giving orders to some workers.

The movie became famous

because during a screening
There was an incident that altered it.

Instead of rewinding
the movie with the projector off,

they did it with the lamp on
and projecting to the screen.

Unintentionally it was projected backwards,
before the astonished eyes of the public.

Instead of a demolition,

they saw how a wall was rebuilt
after a great dust.

It is easy to imagine the impact
in the viewer of the time.

The next day,
when they saw the projection

the workers of the Lumière factory,
They shouted: '' Bosses are sorcerers! ''.

Lyon was the first city
filmed by Lumière.

In those days, traveling
they were called panoramas.

This is not the first panorama,
but it is the one that is best done.

The camera was placed on a train
to enter Lyon

from the north, crossing the river
and finish at the station.

Being light and sophisticated,

the cinematographer allowed to obtain
a very stable image.

So we see in perspective
the newly built basilica of Fourvière.

Although The arrival of the train to La Ciotat
It is the most famous, it is not the only one.

There are dozens more.

The arrival of a train to Perrache
It's the opposite of the previous one.

People know it's being recorded,
not because he looks at the camera,

but because it moves faster
to show that you are working.

The train has not stopped yet and the people
He rushes to open the doors.

As usual with Lumière,
a distraction appears, a miracle,

that fills us with surprise and mystery.

Look to the right.
It is the smoke of another train.

Its appearance gives the image
a great depth of field.

Our trip through Lyon continues.

This movie was the first
that was screened at the Grand Café.

Immortalize the Place des Cordeliers

and it shows the quintessence
of the Lumière cinema,

where life is shaped
with great simplicity.

If a movie liked,
Lumière repeated it.

This is Place Bellecour, located
in one of the most famous neighborhoods

and more crowded.

Placed, surely, on a balcony,

the camera allows us to see
the boiling of the place and the time.

After years lost, this movie
It was found and restored.

For the Lyonns
It has an incalculable value.

We see here
one of the first news.

It shows Lyon when it was flooded in 1896

from the Quai de l'Archevêché,
today Quai Romain Rolland.

In addition to the information,

we must observe
the work of direction.

Lumière had to show
three things: the flood,

the horses that pass with difficulty
and the crowd that watches what happens.

As Bertrand Tavernier said
quoting the filmmaker Raoul Walsh:

''There is only
a place to put the camera. ''

Lumière found it
and captured the reality of the scene.

This movie starts
with a traveling forward.

Lumière saw the visual force
of the movement of the camera.

With the experience
they became more sophisticated.

Here it stops
when the horses pass

and the traveling is now going back
to follow the tram.

This is called La Place du Pont

and shows the desire of Louis Lumière
to capture life and reality.

Rolling in the street is a slogan
that is repeated and that will continue

when you send your operators
worldwide.

This movie was filmed
in the Cours de Verdun in 1896.

This game of lion balls
It was very popular and still is.

The game normally
it requires concentration.

But, in the presence of the camera,

everyone overreacts a little
and exaggerates his gestures.

We even see a man on crutches
which crosses just before I throw another one.

With so much pose and gesticulation,

these men with hat and cane
They give the movie a popular joy.

Childhood is the big issue
in the Lumière cinema.

This girl is
the niece of Louis and Auguste.

You have been asked to play
with the cat and feed him.

A cat that resists and flees.

Then it jumps and comes back.

This movie,
shot in Lyon in 1900,

it remind us
the impressionism of Auguste Renoir

for inspiration,
the shape and the theme.

And it's almost a close-up,

plane that will officially invent
Griffith ten years later.

And while, the cat eats,
Ask for more and scratch the girl.

Watch the first thriller
of the history of cinema,

shot
as if it were going to produce a drama.

Louis was a father and saw the cinema
as an instrument

to conserve
family memories.

This girl represents all the children.
He is learning to walk.

Hesitate It falls

or do not fall

And in the end it falls.

Far from spoiling the movie,
that fall

supposes its reason for being.

This is the movie number 69

and it was shot
during the second half of the year 1895.

We see Andrée Lumière,
the same as before,

and his father, Auguste, who tries
Let him play with goldfish.

At the beginning with humor and tenderness,

then with some impatience,
He even shakes her to play.

At the end of the movie,
the accomplice look at the camera

he expresses his impotence.

Here,
in another Renoir style movie,

Madeleine Koehler
plays with his brother Marcel,

both nephews of Auguste and Louis.

Actually, they do not play. They dance.

They get excited
Each one carries a rhythm and an address.

This movie was shot
in summer by Alexandre Promio,

one of the best operators
of Lumière.

The scene takes place
on a beach in England in 1896.

Barefoot in the water
and under the eyes of mothers,

children
They fish shrimps with salabres.

However, the main theme
It is the beauty of the scene.

The position of the camera
delimit the frame.

Here it is located far to show
to the three children in a general plan.

As has already been said, the movies
they lasted only 50 seconds.

We observe how the child
he knows he has little time,

since it tries to distribute the grapes
as fast as possible.

We see speed and authority,
even impatience and nervousness.

A nervousness that becomes
in main theme and makes us laugh.

Bathing in the sea was filmed in La Ciotat
in July 1895,

on the beach of the house
by Antoine Lumière.

Again, the children,
brothers and cousins,

They play in the Mediterranean at sunset.

The camera collects everything.

The jumps, the return to the shore,
what is out of plane

and the races by the jetty.

The movie is wonderful.

These children who play marbles
they are not of the Lumière family,

although they have filmed them
with the same affection

These children are
of the so-called working class.

They are boys and girls who play
on the street. One goes barefoot.

We see a girl you saw
different from the one I played with the cat.

The movie is full of life and it's
a portrait of nineteenth century France.

This is mysterious.

It's a parade of baby strollers
to the nursery in Paris in 1897.

It is not known what the camera was doing there

nor why he thought
that would make a great movie.

Remember the train movie
by the diagonal perspective,

but here the locomotive are
the strollers perfectly aligned

and the nurses who look like out
from a movie by W.C. Fields.

And it ends with a happy ending.

A baby appears walking
in the opposite direction,

how Chaplin does
at the end of Modern Times .

Filmography Lumière
It has a prominent theme:

The working France.

La Ciotat, where the father of the Lumière
I had a big house,

It is the city of the Mediterranean
whose image will take the cinematograph.

This is a descriptive movie
that shines through inactivity.

Nothing happens.

Everyone looks far away,
expectant, somewhat uneasy,

until finally it arrives
a metal plate,

surely
the initial theme of the film,

next to the admirable framing
and the wealth of elements it shows.

This is called La caldera .

The composition,
once again, it is perfect.

It was shot in La Ciotat
in the Messageries Maritimes shipyards.

At the beginning of the century,

the shipyards of the city
They gave work to more than 6000 people.

Louis, Auguste
and especially Antoine Lumière

they came to record what would be
An unforgettable portrait of the city.

Workers repairing
an asphalt sidewalk

is the title of the movie 833
of the Lumière catalog.

It was shot by an anonymous operator
in 1897 in France.

The smoke gives it an abstract look,
between painting and photography.

The camera
capture the moment with delicacy,

with that feeling of spontaneity
and of documentary tone.

Or almost.

By looking more closely,
we see the workers in the foreground

while the background appears
some curious perfectly aligned.

The Carmaux mines occupy a place
highlighted in French workers' history.

Here we see how they get the coke
that will feed the blast furnaces.

The camera is located
near the scorching material.

Fascinated viewers of the time
and continues to fascinate today.

But the composition is surprising ..

Two films overlap
with two simultaneous actions.

The main one is below,
where the workers are busy,

and the other one is up, in cinemascope,
where others push wagons.

We are in 1896,
somewhere in France.

This movie is titled
Laundresses in the river.

Women were called washerwomen
as in Degas paintings.

This time we have
three movies in cinemascope.

We have the horse up,
the men in the middle

and women who wash clothes
in the river.

When talking about working France,
they were mostly working women.

Among the workers
There are the fishermen.

This movie
it could have been shot by Visconti

during his neorealist stage
when he led The earth trembles .

This happened 50 years earlier
In the south of france.

This movie is titled
Sardine fishing.

The stability of the image indicates
that the camera was on the ground,

but the frame makes us believe
that we are in the sea

Nowadays the cinema would do the same.

Was the operator here by chance?

We do not know anything about this movie
which was shot in Paris in 1896.

The effect provoked is impressive
for the horses that gallop by.

Until 1920, fire engines
they were pulled by horses

and they carried stairs
and water pumps separately.

Lumière showed objectively
A time,

their trades, places and traditions
without any reconstruction.

At the end of the movie
We see how life goes on.

The curious
They pass in front of the camera.

White. The crank has stopped
and now it continues, as well as the movie.

Another example of care
that was given to the staging.

Shows the parade masterfully
of the horses of the stonemason Vautier.

They cross the image diagonally
to occupy the whole

and show so there were many horses
and that they were pulling something heavy.

The operator only had 50 seconds
to translate it.

Also, the camera did not have a viewfinder.

It had to be framed
the memory image.

Look how well adjusted of time
what is

We count: 47, 48, 49, 50 seconds.

The movie is perfect.

After work,
comes FRANCE THAT HAVE FUN.

Many of the 1500 films
of the Lumière

they show the French having fun,

like this lining of cuirassiers
in Lyon

that housed
to 3000 men and 1600 horses.

This may be the most sympathetic horse
of the history of cinema.

And the most patient.

These athletes
they take advantage of that kindness

to chain unsuccessful leaps
and cartwheels.

Here is the same group
working hard.

It's called The Jump to the Blanket
and it's spectacular.

Lumière perhaps doubted
of the comic effect,

for what he added to a viewer.

Look to the right.

That older man does not stop laughing.
It seems that he loves the show.

It serves Lumière so that people
see how much fun it is.

Your overacting
makes it the protagonist.

A staging within another
It will guide the viewer and make him laugh.

Bathroom in the Saona.

When filmed
this movie in the Saona,

one of the two rivers of Lyon,

swim in both rivers
It was forbidden for 15 years.

Although it did not affect the public toilets
nor to swimming lessons.

That's why these guys take advantage

and act before the camera
so we can admire his jumps.

We admire, above all, their swimsuits.

This is
the 33rd film from the Lumière catalog,

filmed by Louis himself in 1896
on the road to Ambérieu

at the start of the Lyon-Geneva race
and return

organized by the local newspaper
Le Progrès .

Modern sports and cinema
They were born at the same time.

This movie shows
the popular character of both.

Between dust and speed,
cyclists pedal with confidence,

except one that stands aside.

Seven years later, Maurice Gaurin
will win the first Tour of France.

At the beginning we saw
to the workers of the Lumière factory.

Here they are playing a popular game,
the sack race.

In this test
with a very lively audience,

our favorite character is the last
because he does not get it ..

And in the end, stay tuned,
We will see the camera arm.

The one of the director who does not miss one.

We are back in La Ciotat,
in the house Clos des Plages,

one of the many houses
by Antoine Lumière.

He used to invite his friends
and here we see them playing ball.

This game had some precise rules,
but here they do not understand

because it's about
of a representation for the cinema.

Everyone throws as and when they want,
from anywhere.

They do not follow an order
nor do they maintain a place to throw.

The man with a beard in the middle
try to throw.

He can not do it.

They make like they measure distances.

The bearded man finally throws,

but cheats
and it gets too close.

Here they are again in the same house.
It's movie 74.

It was shot by Louis
in La Ciotat in 1896.

We see Marguerite,
the woman of Auguste Lumière,

to Rose, Louis's wife,

to Charles-Albert,
the brother-in-law of both brothers

and Pierre Bellingard,
a photographer friend of Antoine Lumière.

If you look closely,

we watch how Rose cheats,

what bothers your opponent,

that snaps the game box.

This shows back to those friends,
but in the farewell.

It's called Departure by car

and its restoration shows
all its beauty.

Now we can appreciate its enormous value.

We see Antoine Lumière, on the left,
shaking hands,

filmed with the cinematographer
of his son Louis,

that he himself inspired ..

We have mentioned sport and cinema.

Mountaineering was a leisure activity
that also began in the late nineteenth century,

at the same time as the cinematograph.

We are in the Mer de Glace,
a glacier near Chamonix,

with tourists who climb it.

Thirty years before, two artists,
the Bisson brothers,

they had done there
a photograph that became famous.

It was as if the Lumière
follow in his footsteps.

To end
this chapter on fun,

we will see two movies of acrobats,
the Kremo, friends of Antoine Lumière.

They have to do
your number in 50 seconds.

The child goes crazy.

Then everyone is prepared
for the last jump,

that will give great spectacular
to the movie.

A final flip

and the whole world goes wild.

The Kremo
they were a family of acrobats

with the name of the founder,
Josef Kremo

This movie shows
some icarian acrobatics

That are running
with people and not with objects.

Even with children.

A child will pack

and it will be passed, rotated

and martyred too.

For you.

One round.

And it lands on a girl.

Now it's not about throwing one,
but two children.

Those were the Kremo.

The city of Lumière
It was also the city of light.

We continue like this
our trip through Paris,

where the Lumière
they made the first payment projection

on December 28, 1895
on the Boulevard des Capucines.

The portrait they make

It is from a city in full change.

With its universal exhibitions,

sees the future arrive
by leaps and bounds.

The operator has placed the camera
in the elevator of the Eiffel Tower

and it offers us a vertical traveling .

Below we see
the old Palace of Trocadero,

built
for the Universal Exhibition of 1878

and that was destroyed in 1935
to raise the Palace of Chaillot.

We are near the Louvre,
in the Tuileries garden,

that owes its name to that there,
Formerly, tiles were manufactured.

The image shows a fabulous print,

that seems to come out of a painting,
a photograph or a novel.

Unexpectedly, someone pushes
to a child to come out of the frame.

The front position of the camera

shows, again,
the depth of field of the apparatus.

Everything looks sharp, from the kids

to the furthest point.

In 50 seconds the camera captures
the tranquility of a Sunday

in the French capital
at the end of the 19th century.

This movie with a Proustian touch

it was filmed
during the Grand Prix de Longchamp.

It's called Return to the Champs Elysees .

In the background the obelisk of
the Place de la Concorde.

We are on the avenue
most beautiful in the world.

Again the cinematographer
immortalize a unique footprint,

definitive
and representative of the time.

It does not differ much
of the Champs Elysees of today,

since cars predominate,
the bikes are cast as they can

and the scared pedestrians

they try to cross
with the greatest caution and difficulty.

This movie, shot in 1897,
It is the fourth panorama of the Seine.

The Eiffel Tower also appears.

This beautiful movie was filmed

with the mounted camera
on a boat from Bateaux-Parisiens.

We appreciate the perfect filming
and the exquisite treatment of the subject,

what makes it
in an elegiac work.

The stairs of the bridge of Alma ,
dates from the Universal Exposition of 1900,

inaugurated
by President Emile Loubet.

It welcomed 50 million visitors

and left buildings like the Petit Palais
and the Grand Palais.

A man with a beard passes twice
in front of the camera, which fascinates him.

In 50 seconds,
the eternal Paris of Proust

It seems to come back to life.

The cinematographer left us
purely descriptive films,

historical and ethnological glances
of an unalterable world.

Here is the Concordia, with obelisk
and sources, as the catalog requires.

Here is with your traffic,
its pedestrians

and his carriages that come and go.

The framing is perfect.

It is a fixed plane that shows
the obelisk and the fountains

in front of the buildings.

To give life to the image,
because this is cinema,

you see a parade
of modern and fast bicycles,

of those that presumed Jarry and Zola.

After the Eiffel Tower
and the Champs Elysees,

the cinematograph offers the viewer

the cathedral of Notre-Dame and its square.

We believe in nineteenth-century Paris,
where it was enough to call

a coachman to go
to any place immediately.

Here we see the contrast
between those who come and go

and the imposing cathedral,
that emphasizes that movement.

Days after the first screening,
Louis makes a decision.

Decide to send the operators
all over the world,

for, as Tavernier said:
'' Offer the world to the world ''.

Let's see his work.

For a Lyon,
going to the south of France was already traveling.

On the way to La Ciotat,
Louis Lumière stops in Marseille.

There La Cannebière rolls.

A silent take on black and white

that illustrates wonderfully
the colors and sounds of the city.

The camera does not move,
but nothing remains still.

We see sardine sellers,
American bars

Funerals and trams.

In 1900 Lumière immortalizes Marseille

when shaping the city
in an unforgettable photorama,

a new invention that saw the light
in the Universal Exhibition.

Felix Mesguich,
one of the big operators,

He came back with many movies.

This shows the beach of Biarritz,
the jewel of the Atlantic Pyrenees.

The view is splendid
and the admirable framing,

although top right
There is a piece of negative.

The cinematographer immortalizes
the passage of time and the happiness in family

when the beaches
They start to get fashionable.

Very soon, in that same place,

the young Lartigue
He will make his first photographs.

This is the Fort-de-France market,

Filmed with the necessary attention

for the camera Alexandre Promio

in Martinique in the year 1902.

This is the movie 1304.

We see hiring buyers,

well-dressed saleswomen
and others with baskets in the head.

There are no men.
Yes, there is the one who passes.

We see here Geneva
during the National Exhibition.

It was shot in 1896
for the same Promio.

It shows the typical and the picturesque.

There is a wooden house,

a parade of cows, bells
and people with traditional clothes.

There's also Lavanchy-Clarke,
the Lumière agent in Switzerland,

that urges people
and do not hesitate to look at the camera.

The first film that confuses us
is Dancing in the bivouac.

It is the army of the Queen of Spain.
The military dance.

They stop.

Then they start again.
They dance a jota and it's all chaos.

We see how a group
It moves incomprehensibly.

Each one dances at will.

Some dance alone and others,
Like those two, they do it.

Lumière also invented
the abstract cinema.

In Barcelona
we find stevedores,

sailors on land that unload
the goods of the ships.

Some work and go through the catwalk,
except that funny guy who greets

and to the one who scolds his partner.

Others,
in the foreground, they do nothing.

Anyway,
the main and beautiful of this movie

It's the smoke.

The movie number 295,

Panorama of the Grand Canal
taken from a ship,

is famous for having
the first movement of the camera,

a traveling lateral
which then called panorama.

Alexandre Promio

he thought that if the fixed cinematograph
I could shoot things in motion,

otherwise
It was also possible. So it was.

Actually, Constance Girel
he made another panorama

in Cologne on the river Rhine
on September 21, 1896.

That is to say,
36 days before this of Venice.

Lumière, like John Ford,

print the legend
more than reality.

On the other side of the Channel,

Charles Moisson
films England in 1896.

Lumière made commercial sense.

Was not it the exit from the factory
the first advertising movie?

This is The Empire,
the Lumière cinema in London.

Top left reads:

'' The Lumière cinematographer.
Every afternoon''.

The theater was by Félicien Trewey,
whom we have seen drinking beer.

Unfortunately, we do not have
a similar shot of the Grand Café.

In Paris, people also
I went to the movies in a buggy.

We see here
The most famous bridge in London.

The cinematographer portrays faithfully
the world that surrounds it.

This shot shows that the operators
they met a list of conditions:

bring distinctive images of the cities,
of its people and monuments.

This is an example.
We see the Westminster Bridge,

where the Big Ben stands out,
like the bowlers in the English ..

Everything is framed
in a perfect composition.

After the first cinema in London,
This is the first room in Germany.

It's the Panoptikum in Berlin
in Friedrichstrasse.

Once again, far from filming
a mere descriptive plane,

the movie presents
different points of view

and vanishing lines
that cross in front of the building.

Emphasizes elegant women
They carry umbrellas.

This movie impressed Wim Wenders
when he traveled to Lyon

to be documented for your
tribute to Skladanowsky inventors.

In the United Kingdom, this time in Dublin,
we see the firemen,

a trade
that fascinated Promio so much

that appear in 11 of the 15 movies
that rolled in Dublin.

This movie uses space
surprisingly.

Every ten seconds something happens.

Some cars pass by and it emerges
a cheerful and restless crowd

that goes out of field
When something happens that is not seen.

This movie was discovered
in the visit to Lyon by Elia Kazan,

originally from Istanbul.

He was very impressed.

We see the most famous city in Turkey

from the European shore of the Bosphorus.
This panorama of the Golden Horn

it's a true sequence plane,
something without equal for the time

and that even today
It would be hard to get.

Describe a circular movement
so you can always see the mosque

and let the sea, the city, also go out,
a big boat, another small

and, in the background,
pedestrians crossing the bridge.

After the Turkey of Europe, we see
that of Asia, as it was said then.

Before the First World War,
it included Anatolia, eastern Armenia,

Western Kurdistan,
Syria, Palestine,

Mesopotamia and Ottoman Arabia.

This movie, Camel caravan,
It was shot near Jerusalem in 1897

and it is, simply, majestic.

This movie starts
with a close-up, or almost.

The man stares at the camera.

Two years after his invention,

the cinematographer had to fill
the curiosity of the public

Worldwide

with a new and constant exoticism.

Jaffa Gate was filmed
in the old city of Jerusalem.

Two children repair in the camera
and decide to be seen.

Imagine the extraordinary
what must these movies be

for an Asian, American audience,
European or African.

There is a precise place for the camera
and this movie is proof of that.

It is the first time that they are filmed
the pyramids and the sphinx.

However, it is a prodigy,
more than the subject portrayed,

for the perfect staging ..

With a soft contrapicado

I promise plasma in 50 seconds
the essence of Egypt.

We see camels, riders,
his way of dressing,

as well as the Great Sphinx of Giza
and the pyramid of Khafre.

From its beginnings, cinema will be
an instrument to know the world.

This movie shows
the bey of Tunisia and his court

going down the Bard's staircase.

All the powerful ones wanted to appear
in the Lumière movies.

Nowadays
it would speak of media diffusion.

The Tunisian bey wanted me to film him
Alexandre Promio.

But the parade
It is so solemn and numerous

that we can not distinguish who the bey is.

The coronation of Tsar Nicholas II supposed
a great success for Charles Moisson.

This movie is simpler,
but magnificent.

It was shot in Moscow,
on Tverskaya Street,

in the Russia of the great novelists.

A street, like Lyon or Berlin,
but watch the man in the streetlight.

It intrigues
the type that moves the crank.

Look directly at the objective
and it forces us to look at it.

He becomes the protagonist
and people are crowded together.

Give the movie
of an exceptional dramatic tension.

Alexandre Promio, who could have served
of model for Tintin,

arrives in the United States in 1896.

It gives Broadway,
the most important avenue in New York,

a great depth of field
in a dazzling movie.

Poor Alexandre Promio,
who suffered the wrath of Thomas Edison,

determined to deport those Frenchmen
that they had successfully organized

projections on American soil.

Before his expulsion,

Promio had time to shoot
a series of splendid films.

We travel west, to Chicago.

Promio filmed 5000 policemen
on Madison Avenue,

the main artery of the city.

Of those 5000 policemen,
4997 had a mustache.

There is one that does not carry.

Look again
the depth of field,

the use of the diagonal
and two other men without a mustache.

East.

And this.

In Mexico, Gabriel Veyre rolls
close to Guadalajara

this strange work
where horses and ducks meet.

In this battle that seems uneven
the ducks win,

who recover
its natural territory: water.

They get it despite the horses,
the dogs and the Mexicans.

With great sense of framing,
of rhythm and epic,

Gabriel Veyre
Plasma for Europeans

the picturesque of a distant country.

Anamite children picking sapeques
before the pagoda of the ladies.

It's Vietnam, then protectorate of Annam
in French Indochina.

This movie is very instructive.
The daughter and the wife of the governor

They throw coins to children.

They go white and they are black.
They are standing and they are bending over.

Today this movie
attests to what colonialism was.

To Gabriel Veyre
He liked to break the rules.

To Louis Lumière
he liked his daring.

It took courage
to film this in Tonkin.

Its titled
Embarking of an ox on a ship .

He rolled a first version
where the animal falls.

He did not dare to keep it
and destroyed the negative.

Afterwards, he shot this second shot.

Did Lumière invent?
the cinema of martial arts?

After crossing the China Sea,
Constant Girel arrives in Japan,

to Kyoto, its historical capital,

and plunges into an enigmatic world
for western society.

Film a place with Japanese flags
and two kendoka in a general plane.

The Lumière style is palpable: a theme,
a point of view and a treatment.

This shot
is ahead of the history of cinema

Kurosawa will shoot this same scene
60 years later in The Seven Samurai .

This chapter shows that the Lumières
They also made fiction, comedy.

The success films
They were projected everywhere.

With so many copies, the negatives
they broke down and had to be repeated.

One of the great successes,
The irrigated irrigator , had many versions.

This one uses the depth of field
and a more sophisticated comic game.

Finish with a look at the camera.

Lumière did
many comedies with military.

This movie, The nanny and the
soldier , is millimeter.

Again,
to introduce the public into the action,

there is a character that laughs
and it encourages the spectator to laugh.

It ends with slaps,

a recurring action
in the works of the Lumière.

This take,
shot in England in 1897,

It's the first football movie,
whose rules had just been set.

The camera does not move,

so it is impossible to follow the ball.

Now it disappears suddenly.

And the movie becomes fun.

The position of the ball

guess
by the movement of the players,

That move
as dancers of ballet .

The movie 948 is titled
Mattress fight .

In this crazy movie,
mattresses that fight

resemble mattresses
of Shakespeare's theater.

It is difficult to imagine
The theme of the movie.

He goes out of his way and seems to escape
to the characters and even the director.

The mediator becomes
in the target of the anger of both.

Then people come everywhere,
it becomes a nonsense,

feathers
they are suspended in the air,

just like the movie.

This movie is called
The trapped lover.

It's a kind of Romeo and Juliet
in the cinematograph style.

It was shot in a studio,
like many Lumière comedies.

In the balcony,
makes Juliet Eugenie Laurent,

a worker from Monplaisir.

The end is the expected
and, while people laugh,

one of the characters looks at camera
so that the spectators laugh more.

In 1896,
Louis Lumière films Félicien Trewey,

your agent in England
and friend of his father Antoine.

It becomes other characters
Thanks to the hat:

Aristide Bruant, Eduardo III,
a Scottish, a Chinese,

a sardine fisherman, a porter,
Don Basilio, a policeman and a soldier.

It helps to know.

The French army returns.
The Alpine hunters training,

they create an involuntary comic effect.

A main character
it feels ridiculous

and look at the camera,
inquisitive, to make sure.

The alpine hunters were
an army corps created in 1888.

They wore blue and wore a beret
which they called cake.

Do you do these exercises
Why is the camera?

Tavernier said
that watching this movie

we understand why France
I lost all wars.

Maybe in the Lumière factory,

Louis made the most absurd movies,

how is it titled
Music-loving woodworker from 1897.

It is the product of a teasing mind.

Of a filmmaker mind too.
Had accessories and fixings,

a slow pace
as the Fat and the Skinny

and some comedians
They played their part conscientiously.

This movie
It was shot in Paris in 1897

and shows
the performance of the dancer La Bossi.

He left no trace in the history of dance,
except for this movie.

He was told he had 50 seconds
to demonstrate what he knew

and she did it with some conviction.

Louis Lumière invented the cinematograph
and produced hundreds of movies,

but he also did
extravagant comedies.

Like this movie,
shot in La Ciotat in 1896.

When the animal is inside
and the wheel of the machine is activated,

we understand why the take is called
Mechanical delicatessen.

We see here
the rarest vehicle in the cinema.

Near Lyon is being built
the Jonage channel.

The vehicle is a steamroller.

Mechanization does not exclude
the use of the shovel.

It is striking that even
in large public works,

Lumière will achieve a perfect composition

and take out the picturesque
and surprising of the most banal scene.

We do not know if Louis Lumière had read
Twenty thousand leagues of submarine travel ,

but this movie seems
a primitive adaptation

previous to the one made
by Richard Fleischer in 1954.

On the left we see
a manual air pump,

that will be a recurring comic element

in The Treasure of Rackham the Red of Hergé

and that here they trigger
Two men with a certain laziness.

Cinema is movement.
Lumière leaves the camera fixed

and move the characters
inside the frame.

The mobile platform, a sidewalk
that moves at two speeds,

it was the most acclaimed installation
at the Universal Exposition of 1900.

In this France that believed in the future,

Lumière was able to capture
the style, the spirit

and the beauty of the new times.

The new century too
It was the New World.

In New York,
the bridge that connects Manhattan and Brooklyn

It was inaugurated in 1883,
after 14 years of works.

The angle
formed by the catwalk and the stairs

create another frame
where the tram passes.

These novelties and constructions were
those that Lumière operators

They offered the world to the world.

What do we like more about this movie?
The plastic composition?

Or the question that it raises?

In 1897, Baku's oil wells
in Azerbaijan they catch fire ..

There is a Lumière operator
and place the goal away from the action

to translate everything into a general plan.

Down and very small,
A man walks to the left.

The launch of the boat La Varese
It was shot by Francesco Felicetti

in the Orlando brothers shipyards
in Livorno, Italy.

The location of the camera is perfect.

James Cameron will choose the same
for the launch of the Titanic.

The boat enters on the left
with an imaginary deafening noise,

appeased by the foam
that causes the boat to move away.

This chapter could be titled
'' The footprints of the Lumière '',

because these movies could be
20 or 30 years later.

Look, it looks like Eisenstein
and the sailors of the Potemkin .

The camera is in a whaler
and that gives it a modernity,

a freedom and audacity
that not only allows you to show something,

but also dramatize it.

Shot from a running whaler
It is a magnificent work of cinema.

Car accident is spectacular.
Now you will see why.

The protagonist survives
to the accident and it looks a lot like

Michel Simon in Renoir's work
Boudu saved from the waters .

We mentioned
the movement with the fixed camera.

From the beginning, operators
they looked for new points of view,

unpublished and abstract,
promoting experimental cinema.

This fish tank with goldfish

it allows us to see shapes,
shadows, reflections and transparencies.

When we see this movie,
shot in Italy in 1897,

We are wondering
if we are facing a painting by Turner

or a photograph of Gustave Le Gray.

It's bad weather. The operator is there
and can turn on the cinematograph.

It could not be more opportune.

The boat, hit by the waves,

moves away and returns
without leaving the frame.

One day, John Ford
He told a young Spielberg:

'' Boy, never put
the horizon line in the middle ''.

Lumière shows here why.

This movie is In single file
in glaciers with snowshoes.

We see the alpine hunters.
Some do not stand up.

To the Lumière, with house in Evian,
They loved the mountains.

Chamonix was a place to relax.

This beautiful general plan
It poses a doubt.

Where will the operator be located
to film with such a prodigy

the procession of alpine hunters?

If before we evoke Kurosawa,
Now it's Ozu's turn.

The Japanese director who gave
So much importance to silences

I would have appreciated
that the camera was so low.

If cinema is the art of movement,
It is also the art of time.

Time is the theme here.

We admire the provision
of the two opium smokers.

One goes with a white shirt
and black pants and the other, the other way around.

Both Louis Lumière and Gabriel Veyr
They filmed the death in Mexico.

'' Cinema is death at work '',
said Cocteau.

A real death? Do not.

Shot one morning,
near Mexico City,

it's a recreation that took place
with the authorization of the authorities

the day after a real duel
in which a man died.

Hailed by Louis Lumière,
who loved eccentric movies,

the operators began to place
the cinematograph everywhere.

Here it is inside a captive balloon
that moves away from the ground.

The shaky and uncertain image
It gives you all its strength and beauty.

This shot
It seems like a metaphor for cinema.

Three levels of depth of field
They offer three readings.

The first level is the crowd.

The second level is the ship,

and the chain that is going to break
and scare the spectators.

It's like a movie screen
where things happen.

When it comes out of the image,
the same scene appears

with other people
as new spectators.

We will finish
with some amazing movies

like this Joyful Skeleton ,
shot in 1897.

It reminds us something:
when they invent cinema,

Louis and Auguste are young and love
life, jokes and the show.

This is how they could have called this movie:
The cancan of the skeleton.

It's not a movie in color,
but it was added later.

It was colored by hand. It was filmed in Italy
and it is called Serpentine Dance.

At that time, Loïe Fuller
he invented modern dance.

This is a tribute
to this North American dancer.

Serpentine Dance is a choreography
created by Fuller in New York in 1892.

The movie is wonderful.

Battle of snow is
one of his first masterpieces.

It was shot near the Lumière factory
in Lyon a sunny day.

Many things happen.
People have fun and a man arrives.

He falls off the bicycle
and it becomes the target.

Try to leave and forget your hat.

The shadows on the white floor

show the perfect picture
of the cinematograph.

People enjoy until the end,

surely exceeding
the indications of the script.

Gabriel Veyre shot this movie
in Namo, Vietnam, in 1900.

This may be
the most beautiful film of Lumière.

With a backward traveling,

the camera, in a sedan chair,
leaves the town.

The habitants
They are fascinated with the device.

Many children run
in front of the camera.

A girl wins the race.

The camera fixes its face
for eternity.

His look, his shyness and his joy

they give this movie
all its intensity and emotion.

From the beginning, the cinema supposed
arduous battles

and paternity suits.

Did they invent the Lumière
the cinematographer?

Your machine was better
that Edison's Kinetoscope or not?

Louis was not fooled

and he made Poster Punchers ,
shot by Promio in 1897.

An astute script tells
the success of the Lyon cinema.

It is a directed film
and with actors, once again.

Everything ends with some slaps,
the arrival of the police

and with the glue cube
in the head of the agitators.

This is
the 42nd film from the Lumière catalog.

It was shot by Louis himself.

Despite appearances,
It is not a trick.

Félicien Trewey, which was transformed
before with a hat,

I had another specialty:
write backwards.

It is one more proof of humor
and the fantasy of the Lumière cinema.

The projections
They used to end this movie

and with her and her masculine elegance
we finish this program.

Ladies and gentlemen, thank you.

We have seen 108 movies
shot with the cinematograph.

In total, Louis Lumière and its operators
They filmed 1422 movies.

There is still much to discover.

There were many quirky gadgets
before the cinematograph,

but none later. When Louis
rolls his first films,

everything is there and forever.

He was the last inventor
and the first filmmaker.

From the beginning he made
that the seventh art was something fun,

tender and universal.

A film composed of 108 pieces

that were shot between 1895 and 1905

by Louis Lumière and its operators.

Directed and commented
by Thierry Frémaux.

In Memory
of all the '' lumieristas ''.

Camera! Action!

For those who visit in Lyon, France,
the street of the First Movie.