Homunculus, 4. Teil – Die Rache des Homunculus (Otto Rippert, 1917)
Feb
3
finance
Richard Ortmann, the homunculus (Olaf Fønss). DP: Carl Hoffmann.
A film about finance because “the Commonwealth of Massachusetts issues the first paper money on February 3, 1690”. The oldest surviving paper bill in what is now the United States bears the date February 3, 1690. The first documented paper money was issued during the Tang and Song dynasties in China, starting in the vulgar year 618. Who would have thought those new colonies were not the center of world history… sigh…
In the fourth instalment of the Homunculus saga, the artificial man callously heads the nation's financial powerhouse while secretly goading the workers in revolt against the ruling class. Soulless and unable to love, he aims for the annihilation of mankind.
Some claim that Die Rache des Homunculus, “The Wrath of the Homunculus”, foreshadows Hitler. I say, beware of businessmen enthralling the working classes.
1910s
“She must have one complex mechanism!”Die Puppe [The Doll] (Ernst Lubitsch, 1919)
Dec
16
Stupid Toy Day
The doll (Ossi Oswalda) mischievously sticks out her tongue. DPs: Theodor Sparkuhl & Kurt Waschneck .
A ridiculous toy for Stupid Toy Day.
– Lancelot
L'eclisse del 17 aprile [An Eclipse of the Sun] (1912)
Apr
17
1912
Scientists in impeccable suits observing the 1912 solar eclipse. The colour used for tinting this scene, a turquoise, indicates moonlight/dusk. Image source: Cineteca di Bologna (via).
Рождество обитателей леса (ca 1912)
Various beetles and a grasshopper rejoice around the Christmas tree materialised by Old Man Frost.
December 25: a Santa for #Christmas
Pождество обитателей леса [Rozhdestvo obitateley lesa / The Insects' Christmas] (Wladyslaw Starewicz, ca 1912)
Father Christmas makes a Christmas tree for the people of the forest.
Дед Мороз (Ded Moroz, or Old Man Frost) is the Slavic version of Saint Nicholas or Santa Claus. An ornament depicting the old grey climbs down a child's (or doll's) Christmas tree and sets off to the forest where he plants his magic staff to create a Christmas feast for the woodland animals.
The word “animation” means “a bestowing of life“. Like his ancestor in the arts Bernard Palissy and the ancient winter solstice celebration of the return of light that long ago spawned Christmas, Wladyslaw Starewicz's Insects' Christmas breathes life into real but inanimate beetles, dragonflies, and frogs. The illusion is complete as you effortlessly forget they are painstakingly animated.
From me to you, a little Christmas treat
Director Wladyslaw Starewicz and his daughter Irina (Irene), surrounded by several of his tiny actors. Irina, writer and director in her own right, starred in her father's WW1 short “Liliya Belgii” [“The Lily of Belgium”] (1915).
#Bales2023FilmChallenge #WladyslawStarewicz #Russia #fantasy #animation #ShortFilm #Christmas #holidays #StopMotion #insects #animals #1910s ★★★★☆
His Wife's Mistakes (Roscoe Arbuckle, 1916)
Aug
4
National Water Balloon Day
Janitor Roscoe uses the comedy staple seltzer bottle to fill a balloon with some spritz!
The great Roscoe Arbuckle just can't help himself while at the wonderfully hedonistic Oriental Café in this delightful short slapstick.
Suspense (1913)
Triangular split-screen in Suspense (1913). While the Wife (Lois Weber) is on the phone with her Husband (Val Paul), unbeknownst to them the Tramp (Sam Kaufman) cuts the telephone wire.
June 11: say Hi! on #SayHiDay
Suspense (Phillips Smalley & LoisWeber, 1913)
Now he's in the…
Suspense is not only the title of this short silent thriller, but also the state of mind the viewer is put into as soon as the film opens. Using POV (point-of-view) shots and breaking the fourth wall, the imminent threat – a vagrant trespassing and creeping up to a lone woman and her newborn child – creeps up on us. We know we're safe, on the other side of the screen, but the Tramp (a particularly haunting Sam Kaufman) looks us right in the eye. He passes us on the stairs, but he's going around us so he must be, hopefully, aware of our presence.
Meanwhile, we also see something that only cinema and books can give: multiple happenings at once. The Wife (Lois Weber) calls her Husband (Val Paul) on the phone. Suddenly the screen splits into three: in the middle, the Husband on call, listening to his Wife on the right who's begging him to hurry home. On the left, the Tramp. Unlike us, he cannot see the conversation promising a happy end. But instead that bringing some relief to the viewer, he cuts the phone cable. While we see that happen, we have no way to tell the Husband to make haste, or the Wife that the Tramp's getting closer.
What's striking too is the omnipresence of modernity: the couple's home and Husband's office have telephones and therefore electricity, and the Husband speeds off in an automobile. The cinematography for the telephone and car chase scenes are filmed and edited with great knowledge of the technical possibilities of the medium; split-screen (only gathering popularity much later, see Pillow Talk (1959), and the usage of the Entfesselte Kamera [unchained camera], the latter a mid 1920s German invention.
A similar, triangular split-screen scene from Michael Gordon's Pillow Talk (1959) with (LtR) Eileen (Valerie Allen), Jan Morrow (Doris Day), and Brad Allen (Rock Hudson) on the party line. With Ms Day's character centred, we know that she's the one to identify with in this particular scene. DP: Arthur E. Arling.
With that, Suspense not only preceded Italian futurist cinema, but also the usage of suspense as a cinematic technique. Now go and watch, and remember
it's only a movie it's only a movie it's only a movie
#Bales2023FilmChallenge #PhillipsSmalley #LoisWeber #SamKaufman #USA #ShortFilm #SilentFilm #drama #suspense #crime #thriller #HomeInvasion #1910s ★★★★☆
Gertie the Dinosaur (1914)
Gertie raises her creator Winsor McCay in her mouth. McCay holds a dressage whip but in his tuxedo resembles a musical conductor more than a lion tamer. DPs: John A. Fitzsimmons & Winsor McCay.
June 1: dinosaurs for #DinosaurDay
Gertie the Dinosaur (Winsor McCay, 1914)
I made ten thousand cartoons —each one a little bit different from the one preceding it.
Long before we all flocked to the movies, there was vaudeville. Vaudeville comes in many flavours, from raucous song and dance, acrobatics (see #BusterKeaton's start) to chalk talk: a live performance in which an artist would chat and draw on a blackboard in real time. The format is perfect to enlighten and entertain an audience, about the dangers of alcohol, the importance of religion, the demand for women's suffrage.
But where there's a scholar, there's a showman. As a chalk talk consists of a succession of quickly drawn illustrations, one flowing into the next while the performer raps over it, the leap to animation is a logical one. In 1914, a brontosaurus named Gertie and a comic strip creator called Winsor McCay travelled the land – both animated and real.
McCay, known for his fantastic comic strips Little Nemo in Slumberland and its predecessor Dream of the Rarebit Fiend, introduced the great animated animal to the audience with little tidbits of knowledge about the mighty brontosaurus, throw her an apple, demonstrate her gentleness by stepping into the screen (a parlour trick made the transition from real to animated look incredibly convincing) and let Gertie carry him around in her prehistoric world. In front of the delighted audience, the showman then would reappear into our realm.
The movies were young and promising, and Gertie's leap to celluloid was made the very same year. Gertie the Dinosaur (1914), an adaptation of the vaudeville act and the first animated dinosaur movie, moves the stage to a dinner party at the animator's studio, where McCay shows off his animation skills as part of a bet.
Gertie, with its combination of animated and real content, had a huge influence on film makers to come. You can see it in Max Fleischer's wonderful Out of the Inkwell cartoons (1918 – 1929) and Ubi Iwerk's Alice Comedies (1923 – 1927, the only original work that ever came out of the Disney studios). And Buster Keaton? In honour of Gertie he rode a claymation brontosaurus in his Three Ages (1923).
The Boy's (Buster Keaton) nifty use of a pre-Willis O’Brien stop-motion Brontosaurus' high vantage point. DPs: Elgin Lessley & William C. McGann.
#Bales2023FilmChallenge #WinsorMcCay #JohnAFitzsimmons #vaudeville #comedy #dinosaurs #animals #animation #ShortFilm #SilentFilm #USA #1910s
La folie du Docteur Tube [The Madness of Dr. Tube] (Abel Gance, 1915)
Apr
23
World Laboratory Day
The professor's assistant is a young Black kid, maybe 10 years old. He's wearing a white lab apron over his dark outfit and glances at something off camera (I assume he's waiting for his cue from the director; this is the scene where the hallucinogenic powder is about to reach him and he has to act the part). In the background is Dr. Tube, cracking up under the influence of his own invention. DP: Léonce-Henri Burel.
Dr. Tube (Séverin-Mars) invents a powder that distorts reality and promptly tests it out on some oblivious test subjects, who quickly can no longer recognise the world around them. The brilliance of La folie du Docteur Tube is its use of practical in-camera effects that makes us, the viewer, experience the hallucinogen.
This little folly by the great Abel Gance features Albert Dieudonné in a small part, who later would again work with Gance in his Napoleon (1927), as Napoléon Bonaparte.
This is one of the few (French) comedies from the time that I'm aware of with a Black character who is not a horrible racist stereotype or a white person in blackface. If you have any idea of who the professor's assistant is, please reach out on Mastodon.