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1894, Lyon.
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00:02:15,292 --> 00:02:19,542
Louis and Auguste Lumière prepare
to create a new utopia:
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00:02:19,958 --> 00:02:21,167
animated photography.
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00:02:21,583 --> 00:02:24,083
In 1895, they invent the cinematograph.
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March 19, 1895, the first film is shot:
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"Workers Leaving the Lumière Factory".
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00:02:30,167 --> 00:02:32,042
The adventure of cinema begins.
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00:02:33,958 --> 00:02:35,000
Up to 1905,
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they shot and produced 1,422 films,
most of them unknown.
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Here are 108 of them,
fully restored, in the original format:
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00:02:41,500 --> 00:02:44,208
1.33 aspect ratio with rounded corners.
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00:02:45,875 --> 00:02:47,583
TO BEGIN
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00:02:57,500 --> 00:03:00,708
One day in March 1895,
at around noon,
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00:03:01,125 --> 00:03:03,708
the Lumière factory doors open.
17
00:03:04,375 --> 00:03:07,250
A new invention, the cinematograph,
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00:03:07,917 --> 00:03:09,500
is set up facing them.
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00:03:09,958 --> 00:03:12,792
What did Lumière say?
"Go"? "Action"?
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00:03:12,958 --> 00:03:16,750
No record remain
But it's the founding act.
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00:03:17,167 --> 00:03:21,875
Women exit, then men.
A few glance furtively at the camera.
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00:03:23,292 --> 00:03:26,000
This was considered the first film.
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00:03:26,167 --> 00:03:30,208
But audiences at the time
recalled a horse and buggy.
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00:03:30,417 --> 00:03:33,625
No matter.
A first film was needed. This was it.
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00:03:33,792 --> 00:03:36,125
Workers Leaving the Lumière Factory.
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00:03:40,292 --> 00:03:42,417
Until another one was found.
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00:03:42,583 --> 00:03:45,333
Is this version also the first film?
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00:03:45,750 --> 00:03:50,208
The light is darker, the frame the same.
The two are alike.
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00:03:50,625 --> 00:03:53,833
When inventing cinema,
Lumière also invented the remake.
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00:03:54,042 --> 00:03:58,333
But the shadow is formed
by a sun not at it's zenith.
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00:03:58,750 --> 00:04:02,667
It really is March.
The people are dressed warmer.
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00:04:04,083 --> 00:04:06,000
And what comes at the end?
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00:04:06,417 --> 00:04:07,833
A horse and buggy.
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00:04:20,750 --> 00:04:22,250
This third version
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00:04:22,667 --> 00:04:25,708
is most likely the one
from March 1895.
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00:04:26,125 --> 00:04:30,667
Same characters, some of the same faces,
the dog, the bicycle.
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00:04:30,792 --> 00:04:34,167
Would be high-brows
and would be comics,
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00:04:34,583 --> 00:04:36,583
proving the film is directed.
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00:04:37,000 --> 00:04:38,833
The adventure begins.
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00:04:39,250 --> 00:04:42,000
55 feet of film, 35 mm wide,
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00:04:42,167 --> 00:04:44,917
50 seconds of an enduring eternity.
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00:04:45,333 --> 00:04:48,333
Chemin Saint Victor
is today Rue du Premier-Film
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00:04:48,750 --> 00:04:52,458
and the first character
was the crowd, the people.
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00:05:02,667 --> 00:05:06,875
June 1895, Lyon welcomes
the Congress of French Photographers.
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00:05:06,875 --> 00:05:07,583
Obne 1895. Lyon welcomes
ngress of French Photographers.
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00:05:08,292 --> 00:05:11,625
A riverboat takes them
to Neuville-sur-Saone.
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00:05:12,750 --> 00:05:14,208
Lumière is on the dock,
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00:05:14,625 --> 00:05:16,917
filming the happy inventors.
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but not happy for long.
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00:05:19,375 --> 00:05:21,667
Then next day, they see the film.
51
00:05:22,125 --> 00:05:22,958
From then on,
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00:05:23,750 --> 00:05:28,917
these men with machines
resize the invention of cinema is over.
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00:05:29,167 --> 00:05:34,292
The Lumière brother's cinematograph
is the best apparatus of all.
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00:05:40,500 --> 00:05:41,833
This is Feeding Baby.
55
00:05:43,042 --> 00:05:45,292
One of their first and
most famous.
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00:05:45,708 --> 00:05:50,125
On the left, August Lumière acts
while his brother films.
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00:05:50,458 --> 00:05:54,583
On the right, his wife Marguerite,
and daughter Andrée.
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00:05:54,958 --> 00:05:58,000
People were thrilled
by the wind in the trees.
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00:05:58,583 --> 00:06:02,875
Cinema, meaning written movement,
is not photography.
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00:06:03,083 --> 00:06:04,458
It is kinetic.
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00:06:04,875 --> 00:06:07,458
This film is remarkably well-framed.
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00:06:07,667 --> 00:06:10,792
We notice
in the bottom right-hand corner
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00:06:11,167 --> 00:06:15,083
bottle of cognac,
proving it's a French breakfast,
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00:06:15,500 --> 00:06:17,042
a cinema breakfast.
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00:06:20,208 --> 00:06:23,667
Is this film a documentary?
This idea is simple.
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00:06:24,000 --> 00:06:26,833
A blacksmith filmed frontally
with his assistant.
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00:06:27,250 --> 00:06:31,417
Lumière was probably inspired
by a similar Edison film.
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00:06:31,708 --> 00:06:33,917
Thanks to exceptional lighting,
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00:06:34,208 --> 00:06:38,208
we can almost hear the hammer
on the glowing iron.
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00:06:38,333 --> 00:06:42,500
Plunged in cold water,
its superb smoke fills the screen.
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00:06:42,667 --> 00:06:46,625
Documentary?
The smith has a white shirt and tie.
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00:06:46,792 --> 00:06:50,042
At the end, someone brings him a drink.
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00:06:50,333 --> 00:06:53,167
With Lumière,
it's all mise-en-scène.
74
00:07:03,083 --> 00:07:06,042
First fiction, first comedy, first gag.
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00:07:06,750 --> 00:07:11,125
A celebrated film
now known as The Sprinkler Sprinkled.
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00:07:12,292 --> 00:07:14,542
A prank by young Edouard Lumière
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00:07:14,958 --> 00:07:18,208
inspired the most famous water jet
in cinema.
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00:07:21,250 --> 00:07:24,417
Look closely.
The gardener chases the rascal
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00:07:24,917 --> 00:07:29,667
not only to pull his ears.
but to pull him back to the camera.
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00:07:30,167 --> 00:07:34,458
He gives him a spanking
so the film lasts its 50 seconds,
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00:07:34,875 --> 00:07:38,917
ending with a furtive glance
at the camera.
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00:07:42,583 --> 00:07:46,208
In 1892
Cézanne painted The Card Players.
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00:07:46,625 --> 00:07:49,917
4 years later,
Lumière directed The Card Game.
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00:07:50,333 --> 00:07:51,833
composed identically.
85
00:07:52,250 --> 00:07:55,792
A testimony of sorts.
On the left, Antoine Lumière,
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00:07:56,000 --> 00:07:59,333
the brothers' father,
playing with Alfonse Winckler,
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00:07:59,750 --> 00:08:03,083
father of the sisters
who married the brothers.
88
00:08:03,250 --> 00:08:06,458
On the right,
Félicien Trewey, a family friend
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00:08:06,625 --> 00:08:09,667
who brought the cinematograph
to England.
90
00:08:09,833 --> 00:08:11,500
The film is directed.
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00:08:11,708 --> 00:08:15,042
Look at the waiter,
who was ashed to act.
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00:08:15,708 --> 00:08:17,833
He doesn't act. He overacts.
93
00:08:31,000 --> 00:08:36,083
Arrival of a Train at La Ciotat.
the first film to scare spectators,
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00:08:36,250 --> 00:08:41,000
who thought the approaching train
would burst to the screen.
95
00:08:42,167 --> 00:08:44,708
The film was a sensation
96
00:08:45,125 --> 00:08:48,542
and Lumière saw how film
could be spectacular.
97
00:08:49,458 --> 00:08:51,958
We see Lumière's family pass by.
98
00:08:52,625 --> 00:08:56,417
But beyond it's fame,
the film must be judged ethically.
99
00:08:56,833 --> 00:08:59,250
Look at the detailed composition,
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00:08:59,667 --> 00:09:03,125
the way the train crosses
diagonally,
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00:09:03,292 --> 00:09:05,250
cutting the screen in two.
102
00:09:05,917 --> 00:09:08,208
White, Gray on the bottom right.
103
00:09:08,625 --> 00:09:11,417
On the top left: dark, black.
104
00:09:32,875 --> 00:09:36,667
Even the films that begin
as documentaries
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end otherwise.
106
00:09:39,083 --> 00:09:41,542
Take this one, Demolition of Wall,
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00:09:41,958 --> 00:09:44,542
shot in Lyon-Monplasir in 1897.
108
00:09:45,458 --> 00:09:49,750
The film was made to impress,
and impress it did.
109
00:09:50,667 --> 00:09:55,458
As we said, Auguste acted for Louis,
who turned the crank.
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00:09:55,875 --> 00:09:58,458
Here he is in front of the camera,
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00:09:58,875 --> 00:10:01,667
giving orders to zealous workers.
112
00:10:03,333 --> 00:10:04,917
The film become famous
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00:10:05,042 --> 00:10:10,083
when, during a projection,
a technical incident altered it.
114
00:10:14,250 --> 00:10:18,250
Instead of rewinding the film
with the projector off,
115
00:10:18,667 --> 00:10:23,583
the projectionist left the arc lamp on,
lighting the screen.
116
00:10:24,500 --> 00:10:29,208
He inadvertencly projected it backwards
to the stunned crowd..
117
00:10:29,875 --> 00:10:31,667
Instead of falling down,
118
00:10:32,083 --> 00:10:36,083
the wall was rebuilt
in a ballet of swirling smoke.
119
00:10:37,000 --> 00:10:41,542
Imagine the fascination
of the spectators at the time.
120
00:10:42,708 --> 00:10:45,292
Duriing the next day's screening,
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00:10:45,708 --> 00:10:49,917
the factory workers shouted:
"The bosses are wizards!"
122
00:10:59,333 --> 00:11:04,958
LYON, CITY OF THE LUMIÈRES
123
00:11:07,417 --> 00:11:09,917
Lyon, first city filmed
by the Lumières.
124
00:11:10,125 --> 00:11:14,000
Tracking shots back then
were called panoramas.
125
00:11:14,417 --> 00:11:18,500
This one's subject
could not have been treated better.
126
00:11:18,708 --> 00:11:23,125
With the camera inside a train,
we enter Lyon
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00:11:23,542 --> 00:11:27,958
from the north, cross the river
and end up at the station.
128
00:11:28,875 --> 00:11:30,917
Lightweight and sophisticated,
129
00:11:31,125 --> 00:11:36,625
the cinematograph provides
total stability without any gimmickry,
130
00:11:37,042 --> 00:11:41,667
showing in the distance
the recently built Fourvière Basilica.
131
00:11:47,833 --> 00:11:52,583
Though the most famous, La Ciotat
wasn't the first or the last.
132
00:11:53,000 --> 00:11:54,125
There were dozens.
133
00:11:54,542 --> 00:11:58,958
A Train Arrives in Perrache is like
the reverse shot of the previous film.
134
00:11:59,375 --> 00:12:03,000
The camera is felt
not because people look at it,
135
00:12:03,167 --> 00:12:07,750
but because they busily run about,
to show they're working.
136
00:12:07,917 --> 00:12:12,250
Before the train stops,
they rush to open the doors.
137
00:12:13,667 --> 00:12:16,958
As usual,
one distraction, one miracle
138
00:12:17,375 --> 00:12:20,042
leads to a surprise, a mystery.
139
00:12:20,458 --> 00:12:24,083
Look what arrives on the right:
another train's smoke.
140
00:12:24,292 --> 00:12:28,750
It's billowing steam
outlines a sublime depth of field.
141
00:12:34,042 --> 00:12:35,667
Our Lyon journey continues.
142
00:12:35,833 --> 00:12:39,958
This was shown at the first screening
143
00:12:41,375 --> 00:12:43,375
Place des Cordeliers
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00:12:43,792 --> 00:12:46,667
is the quintessence of Lumière's cinema
145
00:12:46,875 --> 00:12:49,500
in it's simple approach to reality.
146
00:13:12,500 --> 00:13:16,125
If a film was appreciated
Lumière remade it.
147
00:13:17,083 --> 00:13:21,792
Place Bellecour is in the city's
most famous neighborhood.
148
00:13:22,208 --> 00:13:23,458
The busiest too.
149
00:13:24,458 --> 00:13:26,417
Probably from a balcony,
150
00:13:26,833 --> 00:13:30,333
the camera recreates
the era's exuberance.
151
00:13:36,708 --> 00:13:42,042
Long lost, this film was
found and restored like the others here.
152
00:13:42,458 --> 00:13:45,292
For the people of Lyon,
153
00:13:52,708 --> 00:13:55,042
An early example of newsreel.
154
00:13:55,458 --> 00:13:58,833
It shows Lyon, flooded in 1896,
155
00:13:59,000 --> 00:14:02,500
Quai de l'Archevêché
now Quai Romain Rolland.
156
00:14:03,208 --> 00:14:05,792
Besides the information it gives us,
157
00:14:06,000 --> 00:14:08,917
notice the remarkable directing style.
158
00:14:09,333 --> 00:14:12,292
Lumière had 3 thins to show:
the flooding,
159
00:14:12,458 --> 00:14:17,625
the horses struggling through
and the crowd of onlookers.
160
00:14:18,042 --> 00:14:22,000
As Bertrand Tavernier says,
quoting Raoul Walsh:
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00:14:22,167 --> 00:14:24,833
"There’s one right place
for the camera."
162
00:14:25,250 --> 00:14:29,458
Lumière found it
to capture the reality of of the scene.
163
00:14:37,875 --> 00:14:40,708
A small forward tracking
opens this film.
164
00:14:40,917 --> 00:14:45,083
Lumière soon understood
the visual power of camera movement.
165
00:14:45,292 --> 00:14:48,542
With experience,
they became more refined.
166
00:14:48,958 --> 00:14:51,542
This camera stops for the horses
167
00:14:51,708 --> 00:14:55,750
then tracks back
to frame the approaching streetcar.
168
00:14:56,542 --> 00:14:58,333
This film, Place du Pont,
169
00:14:58,500 --> 00:15:02,417
shows Lumière's desire
to capture life and reality.
170
00:15:02,625 --> 00:15:07,042
He instructed his camera operators
to shoot in the street
171
00:15:07,292 --> 00:15:09,792
when he sent them
the world over.
172
00:15:21,208 --> 00:15:25,500
This film was shot
in the Cours de Verdun in 1896.
173
00:15:26,417 --> 00:15:30,292
Lyon-style boules was a popular game,
and still is.
174
00:15:30,958 --> 00:15:34,000
The game usually requires concentration.
175
00:15:34,458 --> 00:15:36,417
But because of the camera,
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00:15:36,833 --> 00:15:41,000
everyone hams it up, overacts,
exaggerates their gestures.
177
00:15:41,208 --> 00:15:45,292
Even a man on crutches passes by
before a throw.
178
00:15:45,958 --> 00:15:48,500
The men's hustle and bustle,
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00:15:48,917 --> 00:15:53,583
their canes and hats,
give the film a sense of jubilation.
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00:16:00,000 --> 00:16:05,542
CHILDHOODS
181
00:16:06,958 --> 00:16:09,583
Childhood, Lumière's great theme.
182
00:16:10,042 --> 00:16:13,083
This girl is Louis and Auguste's niece.
183
00:16:13,750 --> 00:16:16,958
She is asked to play with a cat
and feed it.
184
00:16:17,625 --> 00:16:20,083
The stubborn animal runs off.
185
00:16:20,500 --> 00:16:22,167
Then bam! Comes back.
186
00:16:22,833 --> 00:16:25,042
This film,
shot in Lyon in 1900,
187
00:16:25,208 --> 00:16:28,208
recalls the Impressionism
of Auguste Renoir
188
00:16:28,375 --> 00:16:31,083
in inspiration, form and content.
189
00:16:32,000 --> 00:16:33,708
It's nearly a close-up,
190
00:16:33,875 --> 00:16:37,792
which Griffith officially invented
10 years later.
191
00:16:40,208 --> 00:16:45,250
All the while, the cat eats,
paws at and scratches the child.
192
00:16:58,458 --> 00:17:02,875
This is cinema's first suspense film,
Baby's First Steps,
193
00:17:03,542 --> 00:17:06,583
shot as if the drama were imminent.
194
00:17:07,250 --> 00:17:10,625
As a father,
Louis liked to conceive of cinema
195
00:17:11,042 --> 00:17:13,875
as a way to preserve family memories.
196
00:17:14,292 --> 00:17:17,542
This child is every child,
learning to walk,
197
00:17:17,958 --> 00:17:19,875
hesitating, falling...
198
00:17:20,292 --> 00:17:21,167
or not.
199
00:17:26,583 --> 00:17:28,000
She finally does fall.
200
00:17:28,167 --> 00:17:31,208
But far from ruinin' film,
201
00:17:31,417 --> 00:17:33,750
her fall is it's raison d'être.
202
00:17:35,917 --> 00:17:38,125
This is film number 69
203
00:17:38,333 --> 00:17:41,542
and was shot at the end of 1895.
204
00:17:42,500 --> 00:17:45,875
We see Andrée Lumière,
from Feeding the Baby,
205
00:17:46,292 --> 00:17:50,417
and her father
trying to make her play with goldfish.
206
00:17:50,833 --> 00:17:52,375
At first tenderly,
207
00:17:52,792 --> 00:17:58,333
then impatiently, shaking her
to solicit the reaction he wants.
208
00:17:59,042 --> 00:18:02,208
At the end, his glance at the camera
209
00:18:02,375 --> 00:18:04,292
shows his helplessness.
210
00:18:17,250 --> 00:18:20,042
Here, in another Renoir-style film,
211
00:18:20,250 --> 00:18:23,167
Madeleine Koehler
playing with Marcel Koehler,
212
00:18:23,375 --> 00:18:26,250
niece and nephew
of Auguste and Louis.
213
00:18:26,667 --> 00:18:28,750
No, not playing. Dancing.
214
00:18:37,417 --> 00:18:41,250
Two different rhythms,
two different directions.
215
00:19:02,167 --> 00:19:05,208
This was shot in the summer
by Alexandre Promio,
216
00:19:05,625 --> 00:19:07,667
one of the Lumières' best cameramen.
217
00:19:08,125 --> 00:19:11,583
It takes place on an English beach
in 1896.
218
00:19:12,250 --> 00:19:15,292
Barefoot in the water
as their mother looks on,
219
00:19:15,458 --> 00:19:18,208
the children carry nets, shrimping.
220
00:19:18,917 --> 00:19:22,125
But the film's real subject
is its beauty.
221
00:19:46,417 --> 00:19:49,625
The camera's position
defined the frame.
222
00:19:50,042 --> 00:19:55,125
Here it is far from the table
to have the children in a wide shot.
223
00:19:55,292 --> 00:19:59,917
The films of the cinematograph
lasted only 50 seconds.
224
00:20:00,333 --> 00:20:03,792
We see that the boy knows
he has little time.
225
00:20:04,125 --> 00:20:09,208
Hence the speed with which
he share the grapes with the girls.
226
00:20:09,458 --> 00:20:13,333
Speed and authority,
impatience and agitation.
227
00:20:14,000 --> 00:20:17,750
Agitation is the subject,
making it funny.
228
00:20:28,917 --> 00:20:32,583
The See was shot in La Ciotat
in July 1895,
229
00:20:33,000 --> 00:20:35,542
at Antoine Lumière's beach house.
230
00:20:36,708 --> 00:20:39,833
The children
- brothers, sisters and cousins -
231
00:20:40,250 --> 00:20:43,167
play in the sea
on a joyful summer day.
232
00:20:43,583 --> 00:20:45,250
The camera sees it all.
233
00:20:45,417 --> 00:20:50,167
Diving, walking back,
running off-screen back to the pier.
234
00:20:50,625 --> 00:20:52,250
The film is splendid.
235
00:21:03,667 --> 00:21:06,583
These Children Playing Marbles
are not the LUMIÈRES',
236
00:21:06,750 --> 00:21:08,917
though filmed as tenderly.
237
00:21:09,083 --> 00:21:12,042
They are working-class children.
238
00:21:12,458 --> 00:21:16,500
They play in the street.
One of them is barefoot.
239
00:21:16,917 --> 00:21:20,792
A girl is dressed differently
from the one with the cat.
240
00:21:21,000 --> 00:21:26,583
The film is lively, a unique testimony
of 19th-century France.
241
00:21:50,750 --> 00:21:52,042
Here is an oddity,
242
00:21:52,250 --> 00:21:58,083
Precession of Baby Carriages
at the Paris Nursery from 1897.
243
00:21:59,500 --> 00:22:04,875
Why was the cameraman there,
and why did he decide to film it?
244
00:22:05,792 --> 00:22:10,083
It recalls A Train Arrives
in perspective and diagonal,
245
00:22:10,500 --> 00:22:13,625
but with perfectly aligned carriages
246
00:22:13,833 --> 00:22:18,083
pushed by nurses,
straight out of a W.C. Fields film.
247
00:22:18,542 --> 00:22:20,458
And then, a happy end:
248
00:22:20,875 --> 00:22:24,208
a baby walking
in the opposite direction,
249
00:22:24,625 --> 00:22:27,250
like Chaplin
at the end of Modern Times
250
00:22:33,708 --> 00:22:36,292
Lumière's filmography
has a great theme:
251
00:22:36,708 --> 00:22:37,958
FRANCE AT WORK
252
00:22:48,458 --> 00:22:51,958
La Ciotat,
with their father's large house,
253
00:22:52,167 --> 00:22:56,083
is the Mediterranean city,
revealed by the cinematograph.
254
00:22:56,250 --> 00:23:00,833
This descriptive film
is defined by the characters' inaction.
255
00:23:01,125 --> 00:23:02,458
Nothing happens.
256
00:23:02,625 --> 00:23:06,333
Everyone looks off screen,
waiting, concerned.
257
00:23:06,875 --> 00:23:10,042
until the arrival of a sheet of metal,
258
00:23:10,250 --> 00:23:12,667
probably the film's initial subject,
259
00:23:12,958 --> 00:23:17,625
along with its admirable framing
and impressive imagery.
260
00:23:29,292 --> 00:23:31,625
This is called Loading a Boiler.
261
00:23:31,792 --> 00:23:35,750
The composition is once again
perfectly executed.
262
00:23:36,042 --> 00:23:40,208
It was shot at the Messageries Maritimes
in La Ciotat.
263
00:23:40,667 --> 00:23:42,250
At the turn of the century,
264
00:23:42,667 --> 00:23:46,125
the city's shipyards
employed over 6,000 people.
265
00:23:46,833 --> 00:23:50,000
Louis, Auguste and especially Antoine
266
00:23:50,417 --> 00:23:54,542
stopped by to make
unforgettable portraits of the city.
267
00:24:05,458 --> 00:24:07,875
Workers Repairing a Street,
268
00:24:08,292 --> 00:24:12,667
number 833 in the Lumière's catalogue,
269
00:24:13,083 --> 00:24:18,375
shot in 1897 in France
by an unidentified camera operator.
270
00:24:19,292 --> 00:24:24,000
The smoke renders the image abstract,
part film, part photograph.
271
00:24:24,667 --> 00:24:27,125
The camera grasps the moment
with grace,
272
00:24:27,333 --> 00:24:31,417
with the usual sense of spontaneity,
of documentary
273
00:24:32,333 --> 00:24:33,125
Almost.
274
00:24:33,542 --> 00:24:37,333
A closer look reveals
how well-placed the workers are,
275
00:24:37,500 --> 00:24:42,500
and, in the background.
how perfectly aliened the onlookers.
276
00:24:56,708 --> 00:25:01,333
In French labor history,
the Carmaux mines hold a special place.
277
00:25:03,625 --> 00:25:08,542
Drawing Out the Coke shows coal
being prepared for a blast furnace.
278
00:25:08,792 --> 00:25:11,333
The camera is near the burning block.
279
00:25:11,750 --> 00:25:15,667
It fascinated spectators at the time,
and still does.
280
00:25:16,292 --> 00:25:18,792
But the composition is unusual.
281
00:25:19,167 --> 00:25:23,375
like two superimposed
with two simultaneous actions.
282
00:25:23,708 --> 00:25:27,542
One below, with busy, bustling workers
283
00:25:27,958 --> 00:25:32,083
and one above in Cinemascope,
with men pushing wagons.
284
00:25:38,500 --> 00:25:41,417
1896, somewhere in France.
285
00:25:41,833 --> 00:25:44,083
Washerwomen on the River.
286
00:25:44,500 --> 00:25:48,458
Washerwomen were called "la andières",
like in Degas.
287
00:25:49,125 --> 00:25:52,417
This time we have three films
in Cinemascope.
288
00:25:53,083 --> 00:25:55,542
The horse above,
the men in the middle,
289
00:25:55,958 --> 00:25:59,917
and the women doing laundry
at the riverside.
290
00:26:01,333 --> 00:26:05,083
It's not so much "France at work"
as "women at work".
291
00:26:26,500 --> 00:26:29,167
Let us not forget fishermen.
292
00:26:29,833 --> 00:26:32,583
This could have been shot by Visconti
293
00:26:33,000 --> 00:26:38,542
during his neorealist stage,
when he directed La Terra Trema.
294
00:26:39,417 --> 00:26:42,833
Here we are 50 years earlier
in the South of France
295
00:26:43,000 --> 00:26:45,750
for this Sardine Fishing.
296
00:26:46,667 --> 00:26:51,667
The stable camera indicates
that the operator is on land.
297
00:26:52,333 --> 00:26:55,417
But the framing
makes us think we're at sea.
298
00:26:55,833 --> 00:26:58,583
Cinema today would do the same thing.
299
00:27:13,000 --> 00:27:15,458
Was the operator here by chance?
300
00:27:15,625 --> 00:27:19,417
We know nothing of this film,
shot in Paris in 1896.
301
00:27:19,833 --> 00:27:23,708
The effect of the galloping horses
is impressive.
302
00:27:24,125 --> 00:27:27,792
The horse-drawn fire engine,
used until 1920,
303
00:27:28,208 --> 00:27:31,250
carried ladders and water pumps
separately.
304
00:27:31,417 --> 00:27:34,333
Lumière objectively showed an era,
305
00:27:34,750 --> 00:27:38,458
its trades and traditions,
without re-enactment.
306
00:27:38,875 --> 00:27:41,583
At the end of the film, life goes on.
307
00:27:42,000 --> 00:27:44,792
Unwitting onlookers pass by the camera.
308
00:27:45,208 --> 00:27:49,250
White. The crank stops.
It starts. The film too.
309
00:28:01,417 --> 00:28:04,625
Another example of rigorous directing.
310
00:28:05,292 --> 00:28:09,792
This is a well-shot film
of horses hauling stones.
311
00:28:10,208 --> 00:28:13,667
They cross the frame diagonally
to fill the space.
312
00:28:13,833 --> 00:28:18,167
The idea is to show all the horses
and their heavy lead.
313
00:28:18,833 --> 00:28:21,542
The operator had only 50 seconds.
314
00:28:22,000 --> 00:28:24,458
And the camera had no viewfinder.
315
00:28:24,667 --> 00:28:27,042
The image had to be framed
from memory.
316
00:28:27,208 --> 00:28:30,625
Look how stunningly timed it is.
317
00:28:31,042 --> 00:28:34,833
47, 48, 49, 50 seconds.
318
00:28:35,250 --> 00:28:36,708
The film is perfect.
319
00:28:39,417 --> 00:28:42,375
After France at work,
FRANCE AT PLAY.
320
00:28:42,792 --> 00:28:47,750
Many of Lumière's 1,500 films
show French people having fun.
321
00:28:48,333 --> 00:28:51,167
Like this garrison of cuirassiers
in Lyon
322
00:28:51,583 --> 00:28:54,375
with its 3,000 men and 1,600 horses.
323
00:28:55,292 --> 00:28:58,375
Here is cinema's nicest horse.
324
00:28:59,292 --> 00:29:00,292
Most patient too.
325
00:29:00,708 --> 00:29:04,042
These athletes take advantage
of its kindness
326
00:29:04,458 --> 00:29:07,083
to try, and often fail, somersaults.
327
00:29:26,500 --> 00:29:29,250
Here is the same group
exerting themselves.
328
00:29:29,417 --> 00:29:32,875
Jumping the Blanket
is very spectacular.
329
00:29:33,292 --> 00:29:35,958
Doubting the film's comic effect,
330
00:29:36,375 --> 00:29:38,125
Lumière added a spectator.
331
00:29:38,542 --> 00:29:39,917
Look on the right.
332
00:29:40,333 --> 00:29:44,417
The old man is in stitches,
enjoying the show.
333
00:29:45,083 --> 00:29:49,792
Lumière uses him to tell the audience:
"Look how funny this is."
334
00:29:50,458 --> 00:29:53,542
His overacting
makes him the film's subject.
335
00:29:53,708 --> 00:29:58,542
The directorial mise en abyme
guides us and makes us laugh.
336
00:30:15,000 --> 00:30:16,208
Swimming in the Saone.
337
00:30:16,875 --> 00:30:19,333
When this was shot at the river,
338
00:30:19,750 --> 00:30:21,250
one of two in Lyon,
339
00:30:21,667 --> 00:30:26,208
swimming there had been forbidden
for 15 years.
340
00:30:27,375 --> 00:30:31,250
The ban didn't apply
to public baths and swimming classes.
341
00:30:31,917 --> 00:30:33,375
These kids make the most of it,
342
00:30:33,792 --> 00:30:37,292
asking us and the camera
to admire their dives.
343
00:30:37,500 --> 00:30:39,583
We admire their swimsuits.
344
00:30:55,500 --> 00:30:58,417
This is film 33 in their catalogue,
345
00:30:58,875 --> 00:31:03,042
shot by Louis himself in 1896
on the road to Ambérieu
346
00:31:03,208 --> 00:31:06,500
at the start of the Lyon-Geneva bike race
347
00:31:06,917 --> 00:31:09,708
organized by a local paper, Le Progrès.
348
00:31:10,125 --> 00:31:12,917
Modern sports and cinema
began at the same era.
349
00:31:13,333 --> 00:31:16,375
This film shows
the popular sides of both.
350
00:31:16,792 --> 00:31:20,708
In a burst of dust and speed,
they pedal with confidence,
351
00:31:21,125 --> 00:31:24,083
except the one who stops by the roadside.
352
00:31:25,000 --> 00:31:31,208
7 years later, Maurice Gaurin will win
the first Tour de France.
353
00:31:40,625 --> 00:31:44,208
We began with workers
at the Lumière factory.
354
00:31:44,667 --> 00:31:49,042
Here they are in Sack Race
a popular game back then.
355
00:31:49,708 --> 00:31:52,375
Here, amid the cheering throng,
356
00:31:52,583 --> 00:31:56,375
our favorite is the last one,
because he is so bad.
357
00:32:09,792 --> 00:32:13,083
At the end,
you'll see the operator's arm.
358
00:32:13,500 --> 00:32:16,667
The director doesn't miss a thing.
359
00:32:19,833 --> 00:32:23,333
Here we are again in La Ciotat,
at Clos des Plages,
360
00:32:23,542 --> 00:32:28,375
one of the many homes
Antoine Lumière had built.
361
00:32:29,042 --> 00:32:33,375
He received friends there.
Here they are playing boules.
362
00:32:33,792 --> 00:32:37,500
The rules were precise
though incomprehensible,
363
00:32:37,917 --> 00:32:40,500
because purely for cinema's sake.
364
00:32:40,917 --> 00:32:43,917
Balls are thrown any which way,
from anywhere,
365
00:32:44,333 --> 00:32:47,042
at any time,
without any order whatsoever.
366
00:32:47,458 --> 00:32:50,250
The bearded man in the middle
tries to throw.
367
00:32:50,458 --> 00:32:52,417
He still can't manage.
368
00:32:54,083 --> 00:32:56,708
Then they pretend to measure.
369
00:32:58,375 --> 00:33:05,125
The bearded man finely throws his ball
but cheats by getting to close.
370
00:33:07,667 --> 00:33:13,542
Here they are again at the Clos des Plages.
This is film 74.
371
00:33:14,042 --> 00:33:17,917
It was shot by Louis in La Ciotat
in 1896.
372
00:33:18,333 --> 00:33:20,958
There is Marguerite, Auguste's wife.
373
00:33:21,250 --> 00:33:22,250
Louis' wife Rose.
374
00:33:23,042 --> 00:33:27,292
Charles-Albert,
their father-in-law's brother.
375
00:33:27,708 --> 00:33:31,708
Pierre Bellingard,
Antoine Lumière's photographer friend.
376
00:33:32,417 --> 00:33:34,375
If we look closely,
377
00:33:34,542 --> 00:33:36,875
it seems that Rose is cheating
378
00:33:37,083 --> 00:33:39,125
which annoys her opponent,
379
00:33:39,333 --> 00:33:42,000
who violently slams shut the game.
380
00:33:46,167 --> 00:33:51,250
Here are the same friends on vacation
and now it's time to part.
381
00:33:51,667 --> 00:33:56,250
This is called Departure by Coach
It is gorgeously restored.
382
00:33:56,667 --> 00:34:00,083
Now we understand its value.
383
00:34:00,250 --> 00:34:03,500
Antoine Lumière, on the left,
shakes hands,
384
00:34:03,917 --> 00:34:10,125
filmed by Louis' cinematograph,
which he himself inspired.
385
00:34:37,708 --> 00:34:39,750
We mentioned sports and cinema.
386
00:34:40,167 --> 00:34:45,542
Mountain climbing as a pastime
began at the end of the 19th century.
387
00:34:45,708 --> 00:34:47,958
like the cinematograph.
388
00:34:48,375 --> 00:34:51,000
Here we are at the Sea of Ice,
near Chamonix,
389
00:34:51,167 --> 00:34:53,375
with tourists climbing a serac.
390
00:34:54,333 --> 00:34:58,667
30 years before, the two other
artist brothers, the Bissons,
391
00:34:58,875 --> 00:35:02,042
took a famous picture
at the same place.
392
00:35:02,750 --> 00:35:06,000
As if the Lumières
were in their footsteps.
393
00:35:22,167 --> 00:35:24,375
To finish "France at Play",
394
00:35:24,792 --> 00:35:30,417
two films about acrobats,
The Kremos, friends of Antoine Lumière's.
395
00:35:32,667 --> 00:35:36,333
They must perform
their routine in 50 seconds.
396
00:35:38,500 --> 00:35:40,167
The boy goes wild.
397
00:35:43,708 --> 00:35:47,667
Everyone gets ready for the last jumps,
398
00:35:47,917 --> 00:35:50,333
making the film so spectacular.
399
00:36:00,792 --> 00:36:02,083
One final roll...
400
00:36:03,500 --> 00:36:05,250
and everyone goes wild.
401
00:36:12,000 --> 00:36:14,375
The Kremos were a family of acrobats
402
00:36:14,667 --> 00:36:16,833
founded by a certain Josef Kremo.
403
00:36:17,792 --> 00:36:20,458
This film shows Icarian acrobatics,
404
00:36:20,875 --> 00:36:23,792
performed not with objects
but people.
405
00:36:24,292 --> 00:36:25,458
Children, to boot.
406
00:36:31,625 --> 00:36:34,000
One child is used like a bundle,
407
00:36:34,208 --> 00:36:36,292
tossed and rolled around,
408
00:36:36,875 --> 00:36:38,958
almost, in a way, battered.
409
00:36:42,167 --> 00:36:43,375
Your turn.
410
00:36:45,333 --> 00:36:46,333
Another shot.
411
00:36:46,750 --> 00:36:49,083
He lands in a little girl's arms.
412
00:36:50,500 --> 00:36:54,083
Now not one child is tossed around,
but two.
413
00:36:54,750 --> 00:36:56,250
That was the Kremos.
414
00:36:57,917 --> 00:37:00,875
PARIS 1900
415
00:37:01,083 --> 00:37:03,375
Lumière also shot the City of Light.
416
00:37:03,792 --> 00:37:06,000
We continue our journey in Paris,
417
00:37:06,167 --> 00:37:09,708
where Lumière had
his first paid projection
418
00:37:10,125 --> 00:37:13,125
on December 28, 1895
on Boulevard des Capucines.
419
00:37:13,542 --> 00:37:15,417
Paris of the cinematograph
420
00:37:15,833 --> 00:37:17,250
is undergoing great change.
421
00:37:17,667 --> 00:37:19,458
City of world fairs,
422
00:37:19,625 --> 00:37:21,750
of a future fast approaching.
423
00:37:22,167 --> 00:37:25,833
The camera is in the elevator
of the Eiffel Tower,
424
00:37:26,042 --> 00:37:28,250
for a vertical tracking shot.
425
00:37:28,667 --> 00:37:31,583
Below, the old Palais du Trocadero,
426
00:37:32,000 --> 00:37:35,458
built for the World Fair of 1878
427
00:37:35,875 --> 00:37:40,708
and taken down in 1935
to build the Palais de Chaillot.
428
00:37:49,125 --> 00:37:51,792
Here we are in the Tuileries Garden,
429
00:37:51,958 --> 00:37:56,542
formerly occupied by workshops
making roof tiles.
430
00:37:57,208 --> 00:37:59,417
The film shows a legendary cityscape,
431
00:37:59,583 --> 00:38:04,292
straight out of a painting,
photograph or 19th century novel.
432
00:38:04,708 --> 00:38:10,250
A stranger pushes a child unexpectedly
out of frame.
433
00:38:11,167 --> 00:38:12,750
The frontal view
434
00:38:13,167 --> 00:38:17,083
gives another example
of cinema's depth of field.
435
00:38:17,542 --> 00:38:19,667
Everything is clear,
from the children
436
00:38:20,083 --> 00:38:22,333
to as far as we can see.
437
00:38:22,750 --> 00:38:26,750
In 50 seconds,
the operator captures the Sunday calm
438
00:38:27,167 --> 00:38:30,167
in the French capital
at the turn of the century.
439
00:38:36,583 --> 00:38:38,667
This film with a Proustian touch,
440
00:38:38,833 --> 00:38:41,042
shot during the Grand Prix
de Longchamp
441
00:38:41,458 --> 00:38:43,875
is called Back to the Champs Elysées.
442
00:38:45,333 --> 00:38:50,333
Facing Place de la Concorde
on the most beautiful avenue,
443
00:38:50,750 --> 00:38:54,125
the cinematograph leaves a trace
that is unique,
444
00:38:54,292 --> 00:38:57,250
definitive and representative
of the era.
445
00:38:57,667 --> 00:39:00,083
Not unlike the Champs Elysées of today.
446
00:39:00,500 --> 00:39:03,000
Mostly cars, weaving bicycles
447
00:39:03,417 --> 00:39:05,458
and scared pedestrians
448
00:39:05,667 --> 00:39:09,208
trying to cross
with caution and difficulty.
449
00:39:19,917 --> 00:39:25,292
Here we have, from 1897,
the fourth tracking shot of the Seine.
450
00:39:25,708 --> 00:39:27,667
It includes the Eiffel Tower.
451
00:39:28,083 --> 00:39:30,208
This gorgeous film was shot
452
00:39:30,625 --> 00:39:35,583
by placing the cinematograph
or a boat.
453
00:39:36,250 --> 00:39:40,750
We can again praise
it's beauty and purity
454
00:39:41,167 --> 00:39:43,125
which give it a mournful tone.
455
00:40:07,542 --> 00:40:11,875
Stairways at the Alma Bridge,
shot at the World Fair,
456
00:40:12,292 --> 00:40:14,625
inaugurated fey President Emile Loubet.
457
00:40:15,042 --> 00:40:16,958
It welcomed 50 million visitors
458
00:40:17,375 --> 00:40:20,958
and left the Petit Palais
and the Grand Palais.
459
00:40:21,375 --> 00:40:25,875
A bearded man passes twice
in front of the camera, fascinated.
460
00:40:31,583 --> 00:40:35,583
In 50 seconds,
Proust's eternal Paris
461
00:40:35,750 --> 00:40:37,500
comes back to life for us.
462
00:40:52,750 --> 00:40:56,208
The cinematograph left
some purely descriptive films,
463
00:40:56,375 --> 00:41:00,500
historical, ethnological visions
of an immutable world.
464
00:41:00,667 --> 00:41:05,125
Concorde "with obelisk and fountains",
says the catalogue.
465
00:41:05,542 --> 00:41:08,458
Flow of traffic,
men and women on foot,
466
00:41:08,875 --> 00:41:11,333
carriages coming to and for.
467
00:41:12,042 --> 00:41:13,500
The frame is perfect,
468
00:41:13,958 --> 00:41:17,833
a static shot composed
with the obelisk and fountains
469
00:41:18,250 --> 00:41:20,125
in the foreground.
470
00:41:22,042 --> 00:41:24,958
To counter the fixity,
for this is cinema,
471
00:41:25,375 --> 00:41:28,708
a parade of bicycles,
modernized velocipedes
472
00:41:29,125 --> 00:41:31,750
extolled by Jarry and Zola.
473
00:41:42,167 --> 00:41:44,542
After the Eiffel Tower
and the Champs Elysées,
474
00:41:44,833 --> 00:41:47,417
the cinematograph offers the spectator
475
00:41:47,625 --> 00:41:51,042
Notre Dame Cathedral,
or rather, it's esplanade.
476
00:41:51,458 --> 00:41:54,833
We think we are there,
in 19th-century Paris
477
00:41:55,042 --> 00:41:59,542
where you would hail-a coach
to be transported immediately.
478
00:41:59,833 --> 00:42:03,292
The comings and goings
in the foreground
479
00:42:03,458 --> 00:42:07,333
contrast with the cathedral,
emphasizing the movement.
480
00:42:28,250 --> 00:42:31,750
After the first projection,
Louis made a decision.
481
00:42:31,917 --> 00:42:34,333
A WORLD NEARER
To send operators all over
482
00:42:34,500 --> 00:42:38,375
who, as Tavernier says,
"offer the world to the world".
483
00:42:38,792 --> 00:42:39,750
This is their work.
484
00:42:42,167 --> 00:42:45,333
The South, for a Lyonnais,
was a voyage.
485
00:42:46,000 --> 00:42:49,667
On his way to La Ciotat,
Lumière stopped in Marseille.
486
00:42:50,083 --> 00:42:53,042
There he filmed La Canabière.
487
00:42:53,708 --> 00:42:55,500
In one silent black-and-white take,
488
00:42:55,917 --> 00:42:58,958
he illustrated the city's
sounds and colours.
489
00:42:59,167 --> 00:43:02,125
The camera is static,
the action non-stop.
490
00:43:02,333 --> 00:43:05,417
We see sardine merchants,
American bars,
491
00:43:05,833 --> 00:43:08,208
funeral homes and streetcars.
492
00:43:08,917 --> 00:43:12,125
In 1900
Lumière immortalized Marseille
493
00:43:12,542 --> 00:43:15,458
by making it the subject
of a photorama.
494
00:43:15,875 --> 00:43:19,292
The new invention
was inaugurated at the World Fair.
495
00:43:27,958 --> 00:43:31,000
Felix Mesguich,
one of the great operators,
496
00:43:31,417 --> 00:43:33,208
brought back many films.
497
00:43:34,625 --> 00:43:39,500
This shows the beach in Biarritz,
jewel of the Atlantic Pyrénées.
498
00:43:40,417 --> 00:43:43,125
Splendid view, admirable framing,
499
00:43:43,333 --> 00:43:47,417
even with, on the top right,
a piece of the negative.
500
00:43:47,958 --> 00:43:52,458
The cinematograph fixes passing time,
instants of family bliss
501
00:43:52,625 --> 00:43:55,375
when beaches were becoming trendy.
502
00:43:56,708 --> 00:43:57,333
Soon, in the same place,
503
00:43:58,292 --> 00:44:01,833
young Lartigue
would start taking pictures.
504
00:44:11,417 --> 00:44:13,875
The Fort-de-France market,
505
00:44:14,042 --> 00:44:16,083
shot with just the right attention
506
00:44:16,500 --> 00:44:19,417
by the operator Alexandre Promio
507
00:44:19,833 --> 00:44:22,750
in Martinique in 1902.
508
00:44:23,000 --> 00:44:25,708
It is number 1304 in the catalogue.
509
00:44:26,167 --> 00:44:27,750
We see busy buyers,
510
00:44:28,167 --> 00:44:31,625
well-dressed saleswomen,
hawkers with baskets on their heads.
511
00:44:32,042 --> 00:44:35,417
No men.
Yes, him, just passing through.
512
00:45:00,708 --> 00:45:03,750
Geneva, the National Expo
513
00:45:04,167 --> 00:45:06,750
shot in 1896 by Promio.
514
00:45:07,667 --> 00:45:09,792
The film is quaint, picturesque.
515
00:45:09,958 --> 00:45:11,458
A wooden chalet,
516
00:45:11,667 --> 00:45:15,500
and a parade of cows, bells,
people in local costumes.
517
00:45:15,917 --> 00:45:20,083
Lavanchy-Clarke,
Lumière's Swiss sales agent,
518
00:45:20,500 --> 00:45:24,167
prods the dallying throng
that glances at the camera.
519
00:45:47,583 --> 00:45:52,000
Soldiers Dancing is the first film
which leaves us perplexed.
520
00:45:54,917 --> 00:45:58,833
We see the Queen of Spain's army.
They are dancing.
521
00:46:01,500 --> 00:46:02,583
Then they stop.
522
00:46:05,250 --> 00:46:09,583
Then they start again.
They do a jota in total disarray.
523
00:46:10,000 --> 00:46:13,167
The group movement
is utterly incomprehensible.
524
00:46:13,583 --> 00:46:14,917
Each does his thing,
525
00:46:15,083 --> 00:46:18,542
some alone,
and two on the left do a slow dance.
526
00:46:23,750 --> 00:46:26,708
Lumière also invented abstract cinema.
527
00:46:31,875 --> 00:46:34,750
In Barcelona, we meet longshoremen,
528
00:46:34,917 --> 00:46:38,625
dockworkers who leaded and unleaded ships.
529
00:46:39,292 --> 00:46:42,917
Some work on the gangplank.
Not the would-be comic
530
00:46:43,333 --> 00:46:47,042
who waves to camera then gets reprimanded.
531
00:46:47,750 --> 00:46:50,875
Others in the foreground do nothing.
532
00:46:51,792 --> 00:46:55,167
But the film's real subject,
and its beauty,
533
00:46:55,583 --> 00:46:56,458
is the smoke.
534
00:47:13,167 --> 00:47:15,167
Lumière's film 295,
535
00:47:15,583 --> 00:47:18,042
Panorama of the Grand Canal
from a Boat
536
00:47:18,458 --> 00:47:21,875
is famous for containing
the first camera movement,
537
00:47:22,083 --> 00:47:25,042
a tracking shot,
then called a panorama.
538
00:47:25,958 --> 00:47:27,167
Alexandre Promio
539
00:47:27,375 --> 00:47:31,583
thought if a static cinematograph
could film moving subjects,
540
00:47:31,750 --> 00:47:34,875
the opposite might be true.
He was right.
541
00:47:35,792 --> 00:47:39,292
In fact another panorama was shot
by Constance Girel
542
00:47:39,500 --> 00:47:43,292
in Cologne on the Rhine
on September 21, 1896.
543
00:47:43,708 --> 00:47:46,042
36 days before this one in Venice.
544
00:47:46,458 --> 00:47:48,292
To paraphrase John Ford,
545
00:47:48,458 --> 00:47:51,208
"Print the legend, not the fact."
546
00:48:03,125 --> 00:48:04,417
Across the Channel,
547
00:48:04,833 --> 00:48:08,417
Charles Moisson shot England in 1896.
548
00:48:08,833 --> 00:48:10,458
Lumière had business savvy.
549
00:48:10,667 --> 00:48:15,625
Wasn't Workers Leaving the Factory
also the first commercial?
550
00:48:16,292 --> 00:48:19,542
Lumière's cinema in London,
The Empire.
551
00:48:19,958 --> 00:48:21,750
On the top left, the marquee reads
552
00:48:22,083 --> 00:48:24,750
"Lumière Cinematograph
Every Evening".
553
00:48:25,667 --> 00:48:30,250
The theater belonged to Félicien Trewey,
whom we saw drinking a beer.
554
00:48:31,667 --> 00:48:35,917
Alas, we do not have a similar shot
of the Grand Café.
555
00:48:36,833 --> 00:48:40,625
In Paris too,
people went to the movies in carriages.
556
00:48:54,292 --> 00:48:56,125
London's most famous bridge.
557
00:48:56,792 --> 00:49:01,042
The cinematograph gives
a detailed portrait of the people on it.
558
00:49:01,250 --> 00:49:06,208
This shot shows the operators had a precise mission.
559
00:49:06,875 --> 00:49:10,625
Bring back images of cities,
people, monuments.
560
00:49:11,292 --> 00:49:14,792
Like here, on Westminster Bridge,
561
00:49:15,208 --> 00:49:19,958
which Big Ben dominates
like a bowler hat on an English head.
562
00:49:20,625 --> 00:49:24,083
The composition of the film is flawless.
563
00:49:34,000 --> 00:49:37,375
After London's first cinema,
now Germany's.
564
00:49:37,792 --> 00:49:40,708
Berlin's Panoptikum,
on Friedrichstrasse.
565
00:49:41,625 --> 00:49:46,583
Once again, far from reducing itself
to simply showing,
566
00:49:47,000 --> 00:49:49,292
the film multiplies points of view
567
00:49:49,500 --> 00:49:52,917
and vanishing lines
in front of the theater.
568
00:49:53,333 --> 00:49:57,750
It emphasizes the women with parasols
and chic outfits.
569
00:49:58,167 --> 00:50:02,667
This film impressed Wim Wenders
when he came to Lyon
570
00:50:02,875 --> 00:50:08,625
for his tribute to the German inventors,
the Skladanowsky brothers.
571
00:50:17,292 --> 00:50:21,500
Back to Great Britain,
but this time Dublin and its firemen.
572
00:50:21,917 --> 00:50:24,292
Promio was so fascinated by them,
573
00:50:24,708 --> 00:50:29,125
that 11 of his 15 films in Dublin
are about its firemen.
574
00:50:30,042 --> 00:50:33,375
This film utilizes space
in a stunning way.
575
00:50:33,583 --> 00:50:36,125
Something happens every 10 seconds.
576
00:50:36,292 --> 00:50:40,292
Coaches pass by
and the joyous yet tense crowd reacts,
577
00:50:40,708 --> 00:50:44,958
rushing off screen
to a mysterious incident.
578
00:51:05,625 --> 00:51:10,417
This film was discovered
during a visit to Lyon by Elia Kazan,
579
00:51:10,625 --> 00:51:12,500
originally from Istanbul.
580
00:51:12,917 --> 00:51:14,542
He was greatly impressed.
581
00:51:15,208 --> 00:51:17,750
Here we are in Turkey's famed city
582
00:51:18,167 --> 00:51:22,875
On the European side of the Bosphorus.
This shot of the Golden Horn
583
00:51:23,042 --> 00:51:27,708
is a veritable sequence shot
incomparable for the era
584
00:51:27,875 --> 00:51:31,083
and difficult to pull off nowadays.
585
00:51:31,750 --> 00:51:37,333
It employs a circular movement,
keeping the mosque always in frame,
586
00:51:37,750 --> 00:51:43,042
showing the sea, the city,
a big boat, a small one,
587
00:51:43,458 --> 00:51:46,292
ending with pedestrians on the bridge.
588
00:51:51,458 --> 00:51:56,375
After European Turkey,
here is Asian Turkey, as it was called.
589
00:51:57,292 --> 00:52:02,625
Before World War One, Asian Turkey
comprised Anatolia, Eastern Armenia
590
00:52:03,042 --> 00:52:06,708
Western Kurdistan, Syria, Palestine,
591
00:52:07,125 --> 00:52:10,250
Mesopotamia and finally Ottoman Arabia.
592
00:52:10,917 --> 00:52:15,917
Shot near Jerusalem in 1897,
this film is called Caravan of Camels
593
00:52:16,333 --> 00:52:18,125
and it is breathtaking.
594
00:52:37,792 --> 00:52:41,375
This film opens with a close-up.
595
00:52:42,125 --> 00:52:44,500
The man stares into the camera.
596
00:52:45,000 --> 00:52:50,500
Two years after its invention,
the cinematograph had to give viewers
597
00:52:50,750 --> 00:52:52,583
constantily renewed exoticism.
598
00:52:53,542 --> 00:52:58,167
Jaffa Gate was shot
in Jerusalem's Old City.
599
00:52:58,875 --> 00:53:03,583
Two children spot the camera
and decide to ham it up.
600
00:53:04,000 --> 00:53:07,667
Imagine how extraordinary
these films were
601
00:53:08,083 --> 00:53:11,333
for Asians, Americans,
Europeans and Africans.
602
00:53:22,750 --> 00:53:27,625
There is a right place for the camera
and this film proves it.
603
00:53:28,042 --> 00:53:31,875
It is the first time
the pyramids and Sphinx were filmed.
604
00:53:32,292 --> 00:53:35,167
It's utter grace surpasses the subject.
605
00:53:35,375 --> 00:53:37,625
It is perfectly directed.
606
00:53:38,292 --> 00:53:40,417
Shot slightly from below,
607
00:53:40,833 --> 00:53:44,667
Promio sums up in 50 seconds
the essence of Egypt.
608
00:53:45,083 --> 00:53:48,125
Camels, horsemen, local attire.
609
00:53:48,542 --> 00:53:52,542
Not to mention the Giza sphinxes
and the pyramid of Khafre.
610
00:53:53,208 --> 00:53:57,167
From the start, cinema was a door
to knowledge of the world.
611
00:54:08,833 --> 00:54:14,000
The Bey of Tunis and his Court
Walking down the Steps of the Bardo.
612
00:54:14,417 --> 00:54:19,292
Crowned heads the world over
soon wanted to te be in Lumière films.
613
00:54:19,708 --> 00:54:22,250
Now it is called being media savvy.
614
00:54:22,417 --> 00:54:26,792
The Bey of Tunis wished to to be filmed
by Alexandre Promio.
615
00:54:27,250 --> 00:54:30,292
But the procession
is so solemn and dense,
616
00:54:30,708 --> 00:54:34,083
we don't know who or where the Bey is.
617
00:54:54,000 --> 00:54:59,625
His film of Tsar Nicholas' coronation
was a huge hit for Charles Moisson.
618
00:55:00,083 --> 00:55:02,667
This one is simpler, but stunning.
619
00:55:03,083 --> 00:55:05,292
Shot in Moscow, Tverskaya Street
620
00:55:05,708 --> 00:55:08,458
it recalls the great Russian novels.
621
00:55:09,875 --> 00:55:15,208
A street, like in Lyon or Berlin,
but look at the man by the lamppost
622
00:55:15,625 --> 00:55:18,208
He is intrigued by the operator.
623
00:55:18,625 --> 00:55:22,667
He stares at the lens
and forces us to stare back.
624
00:55:23,333 --> 00:55:27,333
He becomes the subject,
inciting people to join him.
625
00:55:27,750 --> 00:55:31,208
He gives this film
an exceptional sense of drama.
626
00:55:41,375 --> 00:55:45,625
Alexandre Promio,
who could have been a model for Tintin,
627
00:55:46,042 --> 00:55:48,542
arrived in America in 1896.
628
00:55:49,208 --> 00:55:52,167
He gave Broadway,
already New York's main street,
629
00:55:52,583 --> 00:55:56,292
a depth of field
in a sparklingly aesthetic film.
630
00:55:57,208 --> 00:56:01,458
Poor Alexander Promio
suffered the wrath of Thomas Edison,
631
00:56:01,875 --> 00:56:06,708
who want him deported
after organising in great pomp
632
00:56:07,125 --> 00:56:09,083
projections on American soil.
633
00:56:09,542 --> 00:56:11,458
Before he was put on the boat,
634
00:56:11,875 --> 00:56:15,625
Promio had time to direct
some wonderful films.
635
00:56:29,542 --> 00:56:32,000
We head west to Chicago.
636
00:56:32,958 --> 00:56:37,833
Promio filmed 5,000 policemen
on Madison Avenue,
637
00:56:38,500 --> 00:56:39,667
the city's main street.
638
00:56:40,083 --> 00:56:44,625
Among the 5,000
4,997 have moustaches.
639
00:56:45,292 --> 00:56:46,750
There's one without.
640
00:56:48,167 --> 00:56:50,208
Note again the depth of field,
641
00:56:50,625 --> 00:56:55,667
the use of the diagonal,
and two others without a moustache.
642
00:56:56,083 --> 00:56:57,250
Him.
643
00:57:01,167 --> 00:57:02,083
And him.
644
00:57:05,750 --> 00:57:09,250
In Mexico, Gabriel Veyre shot
near Guadalajara
645
00:57:09,667 --> 00:57:12,833
this oddity
pitting horses against ducks.
646
00:57:13,500 --> 00:57:16,708
And believe it or not, the ducks win,
647
00:57:17,125 --> 00:57:19,833
reconquering their territory, water,
648
00:57:20,292 --> 00:57:25,792
despite approaching horses, yapping dogs
and sombrero-slapping Mexicans.
649
00:57:26,208 --> 00:57:28,458
Framing, rhythm, epic.
650
00:57:28,875 --> 00:57:31,333
Gabriel Veyre shows Europeans
651
00:57:31,750 --> 00:57:34,250
a picturesque faraway land.
652
00:57:52,167 --> 00:57:57,333
Annamite Children Gathering Coins
at the Women's Pagoda.
653
00:57:58,333 --> 00:58:03,000
Vietnam, in the old protectorate Annam
in French Indochina.
654
00:58:03,875 --> 00:58:07,875
The film is instructive.
The governor's wife and daughter
655
00:58:08,292 --> 00:58:10,333
hand out pierced coins.
656
00:58:11,167 --> 00:58:16,208
Women in white, children in black.
Women standing, children on all fours.
657
00:58:17,208 --> 00:58:21,917
Today the film
is a searing indictment of colonialism.
658
00:58:39,542 --> 00:58:43,375
Gabriel Veyre continually toyed
with expectations.
659
00:58:43,792 --> 00:58:45,792
Lumière appreciated his boldness.
660
00:58:46,208 --> 00:58:49,333
Boldness was needed
to shoot this in Tonkin.
661
00:58:49,750 --> 00:58:52,708
It is called
Loading a Cow on a Ship.
662
00:58:53,125 --> 00:58:55,792
In a first take, the animal fell.
663
00:58:56,458 --> 00:58:59,417
Afraid to keep it,
he destroyed the negative.
664
00:58:59,833 --> 00:59:03,042
He shot a second one,
which we see here.
665
00:59:16,208 --> 00:59:19,458
Did Lumière also invent
artial arts movies?
666
00:59:19,667 --> 00:59:24,500
After crossing the China Sea
Constant Girel stopped in Japan,
667
00:59:24,708 --> 00:59:26,958
in Kyoto, its historic capital,
668
00:59:27,375 --> 00:59:31,292
plunging himself in a world
enigmatic to the West.
669
00:59:31,958 --> 00:59:36,917
A set bedecked with flags
and two kendoka in a gorgeous wide shot.
670
00:59:37,583 --> 00:59:43,000
It is Lumière's style incarnate:
a subject, a point of view, a treatment.
671
00:59:43,458 --> 00:59:46,375
The shot anticipates film history.
672
00:59:46,583 --> 00:59:51,583
Kurosawa shot the same scene
in The Seven Samurai 60 years later.
673
00:59:58,250 --> 01:00:03,833
This new chapter will show
that Lumière is also fiction, COMEDY.
674
01:00:05,500 --> 01:00:08,250
Successful films were shown everywhere.
675
01:00:08,667 --> 01:00:13,375
So many copies were printed
that the negatives got worn.
676
01:00:13,833 --> 01:00:18,458
One big hit, The Sprinkler Sprinkled,
was remade several times.
677
01:00:24,875 --> 01:00:29,542
This version uses depth of field
and mere sophisticated acting.
678
01:00:29,958 --> 01:00:32,875
It ends with a nice look at the camera.
679
01:00:47,542 --> 01:00:51,333
Lumière made
many military vaudeville romps.
680
01:00:51,750 --> 01:00:55,792
The Boy's Nanny and the Soldier,
has perfect timing.
681
01:00:56,208 --> 01:00:59,708
Again, the viewer has a counterpart
inside the action
682
01:01:00,125 --> 01:01:04,083
with a character whose laughter
incites the audience's.
683
01:01:16,750 --> 01:01:18,542
It all ends with slaps,
684
01:01:18,708 --> 01:01:21,833
a common occurrence in Lumière's fiction.
685
01:01:31,250 --> 01:01:33,542
Shot in 1897 in England,
686
01:01:33,958 --> 01:01:38,208
the first film about soccer,
with it's new, modern rules.
687
01:01:40,875 --> 01:01:41,792
Static camera,
688
01:01:42,458 --> 01:01:44,417
so impossible to follow the ball.
689
01:01:44,625 --> 01:01:46,917
Here it disappears suddenly.
690
01:01:48,583 --> 01:01:50,333
The film becomes funny.
691
01:01:50,500 --> 01:01:51,667
The ball's position
692
01:01:51,833 --> 01:01:54,708
must be guessed
by the players' movements.
693
01:01:54,875 --> 01:01:57,583
They perform a random ballet.
694
01:02:23,042 --> 01:02:28,000
948 in the Lumière catalogue:
Mattress Makers Fight.
695
01:02:28,417 --> 01:02:31,625
In this curious film, the fighting women
696
01:02:31,833 --> 01:02:34,750
are played by men, as in Shakespeare.
697
01:02:35,208 --> 01:02:37,458
It is hard to imagine the idea.
698
01:02:37,667 --> 01:02:44,333
It seems to escape
the characters, subject and director.
699
01:02:47,458 --> 01:02:51,250
The peacemaker
becomes the object of their fury.
700
01:02:51,667 --> 01:02:55,333
Then people come from everywhere,
in a joyful mess.
701
01:02:55,792 --> 01:02:58,333
feathers suspended in mid-air,
702
01:02:58,583 --> 01:03:00,000
like the film.
703
01:03:12,792 --> 01:03:14,708
This is called Lover in the Bag,
704
01:03:15,042 --> 01:03:18,208
a sort of Romeo and Juliet in one-take.
705
01:03:18,667 --> 01:03:22,417
It was shot in studio
like most Lumière comedies.
706
01:03:22,833 --> 01:03:26,917
Atop her balcony,
Juliet is played by Eugenie Laurent,
707
01:03:27,125 --> 01:03:29,458
a factory worker from Monplaisir.
708
01:03:38,125 --> 01:03:41,625
The usual outcome, amid general hilarity,
709
01:03:41,833 --> 01:03:46,417
while the viewer is invited to laugh
by a look at the camera.
710
01:03:49,833 --> 01:03:53,542
In Lumière films Félicien Trewey,
711
01:03:53,750 --> 01:03:57,667
their agent in England,
and friend of their father's.
712
01:03:59,083 --> 01:04:03,208
The characters he plays
thanks to his magic hat:
713
01:04:03,375 --> 01:04:09,125
Aristide Bruant, Edward III,
a Scotsman, a Chinaman,
714
01:04:09,542 --> 01:04:15,667
fisherman, concierge, Don Basilio,
policeman and Salvation Army man.
715
01:04:16,125 --> 01:04:18,000
It helps to be told.
716
01:04:22,167 --> 01:04:26,708
The French army is back.
Chasseurs Alpins doing drills
717
01:04:26,917 --> 01:04:31,333
in a comedy
that is extraordinarily unintentional.
718
01:04:50,333 --> 01:04:53,500
The main character feels ridiculous.
719
01:04:53,708 --> 01:04:56,917
He looks questioningly at the camera.
720
01:05:01,625 --> 01:05:07,833
The Chasseurs Alpins were
mountain infantrymen created in 1888.
721
01:05:08,042 --> 01:05:12,000
They wore blue uniforms
and blue berets called "tarts".
722
01:05:13,167 --> 01:05:15,292
Are they doing this for the camera?
723
01:05:15,708 --> 01:05:18,250
Tavernier says when we see this film,
724
01:05:18,417 --> 01:05:21,542
we see why France back then
lost every war.
725
01:05:44,125 --> 01:05:50,250
It was Louis aiming in their factory,
who made the craziest films,
726
01:05:50,417 --> 01:05:54,583
like this Music-Loving Wood Sawyer
727
01:05:54,750 --> 01:05:58,375
The product of the mind of a jokester.
728
01:05:58,792 --> 01:06:02,375
The mind of a director, too.
Props and gags,
729
01:06:02,833 --> 01:06:04,958
slow rhythm like Laurel and Hardy,
730
01:06:05,208 --> 01:06:08,542
and conscientious actors who go all out.
731
01:06:31,917 --> 01:06:35,000
Shot in 1897,
732
01:06:35,167 --> 01:06:40,125
the surprising performance
of a ballerina named La Bossi.
733
01:06:40,792 --> 01:06:45,042
She left no mark in dance history,
besides this film.
734
01:06:45,458 --> 01:06:49,958
She was told she had 50 seconds
to give it her all.
735
01:06:50,375 --> 01:06:53,708
Which she does whit a certain conviction.
736
01:07:15,375 --> 01:07:21,250
Louis Lumière invented the cinematograph
and produced hundreds of films,
737
01:07:21,458 --> 01:07:24,458
but also created extravagant comedies.
738
01:07:25,125 --> 01:07:28,292
Like this, shot in La Ciotat in 1896.
739
01:07:28,958 --> 01:07:32,792
When the wheel is spun,
tihe animal looked inside,
740
01:07:33,000 --> 01:07:37,208
we understand the film's title,
The Mechanical Butcher.
741
01:08:04,375 --> 01:08:10,250
A NEW CENTURY
742
01:08:10,917 --> 01:08:13,875
The oddest vehicle since cinema began.
743
01:08:14,083 --> 01:08:17,667
Near Lyon,
where the Jonage Canal was built.
744
01:08:17,833 --> 01:08:19,875
This is an earth packer.
745
01:08:20,292 --> 01:08:23,833
Despite the machine,
people still used shovels.
746
01:08:24,250 --> 01:08:27,958
Even while filming complicated public works,
747
01:08:28,375 --> 01:08:30,583
Lumière's composition is perfect.
748
01:08:30,750 --> 01:08:34,375
Everyday events
became picturesque and surprising.
749
01:08:58,792 --> 01:09:02,958
We don't know if Lumière read
20,000 Leagues Under the Sea.
750
01:09:03,167 --> 01:09:06,375
But this is like
a primitive adaptation of it,
751
01:09:06,583 --> 01:09:10,542
well before Richard Fleisher's in 1954.
752
01:09:11,208 --> 01:09:14,333
Pumping air to the diver,
we see on the left
753
01:09:14,500 --> 01:09:17,792
the manual pump,
a recurrent comic element
754
01:09:18,208 --> 01:09:20,083
in Red Rackham's Treasure.
755
01:09:20,500 --> 01:09:24,625
The men using it here
do so very nonchalantly.
756
01:09:51,875 --> 01:09:56,792
Cinema is movement.
Here it is captured in a static shot
757
01:09:57,208 --> 01:09:59,917
that lets the subject move
within the frame.
758
01:10:00,333 --> 01:10:04,083
The mobile platform,
a moving sidewalk with two speeds.
759
01:10:04,250 --> 01:10:08,667
was the most acclaimed installation
at the 1900 World Fair.
760
01:10:09,083 --> 01:10:11,458
People then believed in the future.
761
01:10:11,667 --> 01:10:14,833
Lumière grasped the style,
spirit and beauty
762
01:10:15,042 --> 01:10:16,875
of the approaching modern times.
763
01:10:24,583 --> 01:10:27,250
The new century
was also the New World.
764
01:10:27,667 --> 01:10:31,083
The bridge
connecting Manhattan to Brooklyn
765
01:10:31,292 --> 01:10:35,667
was inaugurated in 1883
after 14 years of construction.
766
01:10:36,000 --> 01:10:39,000
The angle between walkway and stairs
767
01:10:39,167 --> 01:10:42,208
creates a frame in the frame
for the streetscar.
768
01:10:42,708 --> 01:10:47,875
These innovations and obstructions
were brought by Lumière's operators
769
01:10:48,083 --> 01:10:50,833
from everywhere for everyone.
770
01:11:06,542 --> 01:11:09,667
What do love about this?
Its composition?
771
01:11:10,000 --> 01:11:12,000
Or the questions it raises?
772
01:11:12,833 --> 01:11:17,792
In 1897, the Baku oil wells
in Azerbaijan caught fire.
773
01:11:18,083 --> 01:11:22,208
The operator placed his camera
far from the action.
774
01:11:23,500 --> 01:11:25,083
Only a wide shot could do it justice.
775
01:11:25,333 --> 01:11:29,042
Down below, tiny,
a man walks to the left.
776
01:11:55,208 --> 01:11:59,708
The launching of the The Varese
was shot fey Francesco Felicetti
777
01:11:59,875 --> 01:12:03,792
in the Orlando Bros navy yard
in Livorno,, Italy.
778
01:12:04,208 --> 01:12:07,375
The position of the camera is ideal.
779
01:12:07,792 --> 01:12:12,042
James Cameron chose the same one
for launching his Titanic.
780
01:12:12,750 --> 01:12:16,750
The ship invades the screen,
the noise, certainly deafening,
781
01:12:17,000 --> 01:12:20,917
calmed by the waves
into which it disappears.
782
01:12:39,458 --> 01:12:43,000
"ALREADY CINEMA",
or "Lumière's Trace".
783
01:12:43,208 --> 01:12:48,250
These films could have been shot
20 or 30 years later.
784
01:12:51,167 --> 01:12:55,708
This is straight out of Eisenstein.
The sailors in Potemkin.
785
01:12:56,125 --> 01:13:00,125
camera in a whaleboat
gives the film modernity,
786
01:13:00,333 --> 01:13:04,333
liberty and boldness
that not only shows something
787
01:13:04,542 --> 01:13:06,208
but dramatizes it.
788
01:13:07,417 --> 01:13:11,750
Whaleboat Launch
is a superb piece of cinema.
789
01:13:36,167 --> 01:13:40,042
Automobile Accident is spectacular.
You'll see why.
790
01:14:17,708 --> 01:14:22,333
The accident survivor
is the spitting image
791
01:14:22,500 --> 01:14:25,917
of Michel Simon
in Boudu Saved from Drowning by Renoir.
792
01:14:41,125 --> 01:14:44,042
We mentioned movement in static shots.
793
01:14:44,458 --> 01:14:48,792
From the start,
operators seek points of view that are new,
794
01:14:48,958 --> 01:14:53,750
unusual, abstract,
spurring decades of experimental cinema.
795
01:14:54,417 --> 01:14:57,375
This film, titled Goldfish Tank,
796
01:14:57,542 --> 01:15:02,000
allows us to see shapes, shadows,
reflections, transparency.
797
01:15:28,917 --> 01:15:32,667
Watching this film,
shot: in Italy in 1897,
798
01:15:32,875 --> 01:15:35,667
we could be in a painting by Turner
799
01:15:36,083 --> 01:15:38,833
or a photograph by Gustave Le Gray.
800
01:15:39,750 --> 01:15:44,417
The weather was rough.
The operator was there, ready to shoot.
801
01:15:45,083 --> 01:15:46,333
Perfect timing.
802
01:15:46,792 --> 01:15:49,292
The rowboat, rocked by the waves,
803
01:15:49,750 --> 01:15:53,333
is unable to leave the camera's frame.
804
01:16:13,042 --> 01:16:16,583
One day,
John Ford told a debutant Spielberg
805
01:16:17,000 --> 01:16:20,958
"Young man, never put
the horizon line in the middle."
806
01:16:21,125 --> 01:16:23,500
Here is Lumière showing why.
807
01:16:23,667 --> 01:16:27,750
The film is called
Single File on Ice with Snowshoes.
808
01:16:27,958 --> 01:16:33,667
Again we ha the Chasseurs Alpins.
some of whom keep falling down.
809
01:17:05,083 --> 01:17:09,083
The Lumières, who had a house in Evian,
loved the mountains.
810
01:17:09,500 --> 01:17:12,375
They would go to Chamonix to relax.
811
01:17:13,542 --> 01:17:16,917
This exquisite wide shot
leads to a question.
812
01:17:17,333 --> 01:17:22,083
Where did the operator stand
to shoot so sublimely
813
01:17:22,292 --> 01:17:25,208
this long row of Chasseurs Alpins.
814
01:17:51,125 --> 01:17:54,833
Earlier we mentioned Kurosawa,
now it is Ozu.
815
01:17:55,250 --> 01:17:59,250
The Japanese director,
for whom silence was so important,
816
01:17:59,458 --> 01:18:03,917
would have appreciated
the low camera angle which he used.
817
01:18:05,083 --> 01:18:08,833
Cinema is not only
the art of movement, but of time.
818
01:18:09,750 --> 01:18:11,375
Time is the subject here.
819
01:18:11,542 --> 01:18:16,333
We can't help but admire
the arrangement of the opium smokers.
820
01:18:16,792 --> 01:18:21,833
One in a white shirt and black pants,
and vice versa.
821
01:18:46,042 --> 01:18:50,875
The cinematograph and Gabriel Veyre
even filmed a death in Mexico.
822
01:18:52,208 --> 01:18:54,667
"Cinema is death at work,"
said Cocteau.
823
01:18:55,125 --> 01:18:57,083
A real death? No.
824
01:18:57,500 --> 01:19:00,375
Shot one morning
on a hill near Mexico City,
825
01:19:00,625 --> 01:19:05,417
this was re-enacted
with the help of local authorities,
826
01:19:05,833 --> 01:19:09,250
the day after a real duel
which left one man dead.
827
01:19:25,208 --> 01:19:29,958
Encouraged by Lumière,
who loved oddities in films he was sent,
828
01:19:30,375 --> 01:19:34,125
operators began to place
cinematographs everywhere.
829
01:19:34,333 --> 01:19:39,625
Here it is placed in a tethered balloon,
drifting away.
830
01:19:40,542 --> 01:19:46,583
The film finds its beauty
its trembling, uncertain movements.
831
01:20:03,042 --> 01:20:06,542
This film is like a metaphor for cinema.
832
01:20:06,708 --> 01:20:10,292
Three levels of depth of field,
three readings of the film.
833
01:20:12,250 --> 01:20:14,083
Level one, the crowd.
834
01:20:14,208 --> 01:20:16,167
Level two, the boat,
835
01:20:16,583 --> 01:20:20,250
with the chain that breaks.
scaring the onlookers.
836
01:20:21,667 --> 01:20:25,667
It is like a movie screen
on which things happen.
837
01:20:25,833 --> 01:20:29,083
When it leaves the frame,
the same scene reappears,
838
01:20:29,250 --> 01:20:32,042
with viewers from another place.
839
01:20:36,458 --> 01:20:39,417
SEE YOU SOON, LUMIÈRE
840
01:20:39,833 --> 01:20:42,625
We end with some surprising films,
841
01:20:43,042 --> 01:20:48,208
like The Happy Skeleton,
the title of this film shot in 1897.
842
01:20:48,417 --> 01:20:51,583
It teaches us this:
when they invented cinema,
843
01:20:51,750 --> 01:20:56,875
Louis and Auguste were young men
who loved life, jokes and spectacle.
844
01:20:57,042 --> 01:21:01,750
This could have been called
French Cancan for Skeletons.
845
01:21:18,417 --> 01:21:22,375
This wasn't shot in color.
The colors were added.
846
01:21:22,792 --> 01:21:27,625
They were added by hand.
Shot in Italy, it is called Snake Dance.
847
01:21:28,083 --> 01:21:31,083
Loïe Fuller invented modern dance.
848
01:21:31,292 --> 01:21:35,042
This is a tribute to the American dancer.
849
01:21:35,458 --> 01:21:41,958
"Snake Dance" was created by Fuller
at the Park Theater in Brooklyn in 1892.
850
01:21:42,375 --> 01:21:44,208
This film is enchanting.
851
01:22:11,875 --> 01:22:15,875
This is one of Lumière's first masterpieces,
Snow Fight
852
01:22:16,292 --> 01:22:20,167
was shot near the factory in Lyon
on a bright, sunny day.
853
01:22:20,583 --> 01:22:25,333
Lots of things happen.
Kids play. A man arrives.
854
01:22:25,542 --> 01:22:28,375
He falls off his bike.
He gets pelted.
855
01:22:28,792 --> 01:22:31,208
Tries to leave, forgets his hat.
856
01:22:31,417 --> 01:22:37,500
Shadows on the ground attest once again
to the perfection of the cinematograph.
857
01:22:38,167 --> 01:22:40,667
They enjoy themselves to the end,
858
01:22:40,833 --> 01:22:44,500
undoubtedly exceeding
indications in the script.
859
01:23:01,958 --> 01:23:05,875
Shot in 1900 by Gabriel Veyre
in Namo, Vietnam.
860
01:23:06,292 --> 01:23:09,000
This is perhaps
Lumière's most beautiful film.
861
01:23:09,417 --> 01:23:11,083
The camera tracks back,
862
01:23:11,500 --> 01:23:14,875
as it is carried in a chair
from the village.
863
01:23:15,292 --> 01:23:18,417
The villagers are fascinated
by the contraption.
864
01:23:18,583 --> 01:23:21,625
Lots of children run in front of it.
865
01:23:34,042 --> 01:23:36,708
This little girl wins the race.
866
01:23:37,875 --> 01:23:40,542
The camera fixes her face for eternity.
867
01:23:41,208 --> 01:23:43,792
Her look, her shyness, her joy
868
01:23:44,208 --> 01:23:47,917
give this film it's intensity and emotion.
869
01:24:00,583 --> 01:24:07,292
From the start, cinema was the theater
of battles and claims to paternity.
870
01:24:07,750 --> 01:24:10,625
Did Lumière invent the cinematograph?
871
01:24:10,792 --> 01:24:15,083
Was to is machine better
than Edison's kinetoscope?
872
01:24:15,542 --> 01:24:17,750
Louis was nobody's fool.
873
01:24:17,917 --> 01:24:23,542
He even made a film about it,
Billposters, shot by Promio in 1897.
874
01:24:24,458 --> 01:24:28,083
It describes the success
of the cinematograph in Lyon.
875
01:24:28,292 --> 01:24:32,208
Once again. It is directed and acted.
876
01:24:32,875 --> 01:24:36,750
It ends with some slaps,
the arrival of a policeman
877
01:24:36,958 --> 01:24:39,833
and glue poured over the agitators.
878
01:24:49,750 --> 01:24:54,167
This is film 42
in the catalogue of Lumière and Sons.
879
01:24:55,083 --> 01:24:56,708
It was shot by Louis.
880
01:24:57,375 --> 01:25:00,375
Despite appearances,
there is no trick photography.
881
01:25:00,792 --> 01:25:04,333
Félicien Trewey,
whom we saw earlier with his magic hat,
882
01:25:04,542 --> 01:25:07,750
had another speciality: writing backwards.
883
01:25:08,917 --> 01:25:13,000
Proof once again
of Lumière's humor and fantasy.
884
01:25:14,458 --> 01:25:18,375
Cinematograph projections often ended
with this film.
885
01:25:18,542 --> 01:25:23,000
And it is with its masculine elegance
that we end our show.
886
01:25:26,417 --> 01:25:29,208
Ladies and gentlemen, thank you.
887
01:25:33,375 --> 01:25:36,292
EPILOGUE
888
01:25:38,208 --> 01:25:41,583
We have seen 108 films
shot by the cinematograph.
889
01:25:42,250 --> 01:25:46,208
In all,
Lumière and his operators shot 1422.
890
01:25:46,375 --> 01:25:51,375
That leaves a lot to discover.
Many odd machines were invented before,
891
01:25:51,542 --> 01:25:55,333
but none after.
When Lumière shot his first films,
892
01:25:55,750 --> 01:25:59,042
it was all there, once and for all.
893
01:26:01,958 --> 01:26:05,000
He was the last inventor
and the first director.
894
01:26:05,417 --> 01:26:10,167
From the start, he turned the 7th art
into something joyful,
895
01:26:10,583 --> 01:26:12,458
tender and universal.
896
01:26:19,875 --> 01:26:24,875
Cinema amuses and enriches.
897
01:26:25,292 --> 01:26:31,042
What can we do better
and what can make us prouder?
898
01:26:41,792 --> 01:26:44,083
A film composed of 108 shorts
899
01:26:44,375 --> 01:26:46,333
shot between 1895 and 1905
900
01:26:46,583 --> 01:26:48,583
by Louis Lumière and his operators.
901
01:26:49,500 --> 01:26:52,792
Directed and commented
by Thierry Frémaux
902
01:28:43,667 --> 01:28:49,875
To the memory of the eternal "lumierists"
903
01:28:50,583 --> 01:28:51,625
Camera!
904
01:29:11,117 --> 01:29:16,630
To everyone who visits
Rue du Premier-Film, Lyon, France.
905
01:29:20,583 --> 01:29:22,208
Translation: Andrew Litvack
906
01:29:22,417 --> 01:29:24,750
Subtitles by Silverway Media
907
01:29:24,958 --> 01:29:29,958
OCR and timing from the
hardcoded subtitles: NaGa
74998
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