Le président en promenade (1896)

In 1895, the debut of the Lumières' Cinématographe truly marked the beginning of a new era of entertainment, and the birth of a new art form. Edison's Kinetoscope was already well known, so the idea of motion pictures wasn't really new; however, the major difference between the Kinetoscope and the the Cinématographe was that the former was an individual experience and the latter a collective one. Their first movies consisted mainly of images from everyday life in movies named "actuality films", which depicted life as it is and technically were the precursors of modern documentaries. Soon the demand for more movies for the Cinématographe grew, and the brothers began to train camera operators to send all over the world, in order to produce more actuality films with scenes from across the globe (and of course, to take their invention to other markets). Mexico, under the rule of president Porfirio Díaz, was one of the first countries to welcome the Lumières' new creation, and cinematographer Gabriel Antoine Veyre was the man in charge of taking cinema to the Mexican lands in 1896.

"Le président en promenade" (better known by its Spanish title "El presidente de la republica paseando a caballo en el bosque de Chapultepec" or "The president riding his horse in Chapultepec forest") was one of the first amongst Veyre's shorts made specifically about president Díaz. It showcases the president riding his horse through Chapultepec (a still popular walk in Meixco's capital) and arriving to a place where he meets a soldier. They exchange words and then the president seems to wait something. Later, Díaz returns from where he came followed by the group that was apparently waiting for him. Several other citizens are seen walking through Chapultepec forest in an otherwise normal day in the city. Díaz seems to really understand the impact that cinema could have in the audiences so, aware that this film was to be seen across the globe, Díaz rides his horse in front of the camera, in an imposing and knightly stance with the dignity of a great ruler. Like most of the Lumières'actuality films, Veyre's had this done in one single take without moving the camera.

President Porfirio Díaz had been ruling Mexico since 1876, in what effectively was a dictatorship, nowadays known as the Porfiriato. Those were years of a totalitarian control of power, suppression of opposing media, and several other injustices; however, those were also years of great progress and economic development for the country. This progress was a direct result of Díaz' desire of bringing modernity to Mexico and his openness to industrial and technological inventions. Naturally, cinema attracted him so, his government welcomed Gabriel Veyre and the Cinématographe with open arms. During his visit, Veyre captured many scenes of Mexican life, staged what could probably the first Mexican fiction movie ("Un duelo a pistola en el bosque de Chapultepec", or "A duel with pistols at Chapultepec forest") and followed president Díaz in his everyday life. Díaz seems to have enjoyed this films so much, clearly understanding the value of cinema in public relations, so there are many scenes of Díaz walking, riding, working, essentially making the president the very first star of Mexican cinema.

Like many other countries, Mexico fell under the spell of the Cinématographe, and Veyre's visit captured the imagination of many businessmen and artists in the country. Cinema, like many other inventions, was welcomed and supported by the government and soon, the public's demand was greater than the offer. This resulted in the birth of Mexican cinema, with the distributors being forced to make their own material when the French one proved to not be enough. Mexican Reolution of 1910 put an end to Díaz' government and borough greater changes to the country. Certainly, Díaz' regime had many problems and shortcomings; however, while the dictator and his regime may not had been the best for most Mexicans, credit goes to Díaz for having helped in the birth of Mexican cinema, and for being Mexico's first movie star.

8/10

Dickson Experimental Sound Film (1894)

It was on a day in 1891 when Scottish inventor William K.L. Dickson surprised his boss, Thomas Alva Edison with his remarkable work in the development of motion pictures. After many experiments, Dickson was now able to capture scenes of real life with his camera, and reproduce them through his invention, the Kinetoscope, as if a fragment of time were preserved in celluloid. Soon, Dickson's Kinetoscope would become an enormous success as a new way of entertainment, with many people eager to pay the nickel that was charged to be able to watch people dancing, or acrobats performing stunts through the "peepshow" of the Kinetoscope. However, the invention wasn't complete, in order for it to capture on film the real life as we know it, sound was needed on the movies. So Dickson kept experimenting and this short experiment, Kinetophone's first film, was the result.

In this experiment, codenamed simply as "Dickson Experimental Sound Film", director William K.L. Dickson stands in front of a recording cone for a wax cylinder (earliest method of recording sound), with his violin on hands, playing a song named "Song of the Cabin Boy". The idea was to record the song into the cylinder at the same time that the camera was recording his movements. In order to show that this was a motion picture, two of Edison's "Black Maria" laboratory decided to do a little dance in front of the camera. Unlike what author Vito Russo claimed in his book, "The Celluloid Closet", this little dance had nothing to do with homosexuality as it obviously is a reference to the environment of loneliness of the lab, akin to the lonely sailors to whom the "Song of the Cabin Boy" was dedicated to (the title Russo suggests, "The Gay Brothers", is actually anachronistic as "gay" had no homosexual connotation in the late 1890s).

Sadly, Dickson was unable to achieve the desired effect, and the Kinetophone never could really produce the synchronized audio with images. While he had the cylinder with the sound and the celluloid with the images, the synchronization of the two elements was not exactly effective, and the sudden appearance of Auguste and Louis Lumière's Cinématographe prompted Edison's team to focus on projecting systems and eventually Dickson left the company. Fortunately, in 1998 Dickson's cylinder with the movie's sound was rebuilt and film editor Walter Murch made a restoration of the experiment as it was intended. Finally, "Dickson Experimental Sound Film" could be heard with synchronized sound, just as its creative inventor had intended. While it was not a successful attempt, this outstanding film is a testament of the enormous genius of the father of Kinetoscope.

8/10



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Dickson Greeting (1891)

When during an afternoon in Leeds, England, french inventor Louis Le Prince tested his latest invention and shot the first movie in the world, he didn't realize the magnitude of what was just starting that long lost day of 1888. Sadly, Le Prince would not live to see the results of his experiments, and it would be other people would be the ones in charge to improve on his idea and create what we now know as cinema. One of those who would become the first filmmakers would be the Scottish inventor William K.L. Dickson, who while working in America along Thomas Alva Edison invented the Kinetoscope in 1890. The Kinetoscope was a device that showed short movies individually through the window of a cabinet housing its components, in a manner that would earn it the nickname of "peepshow machine". However, the birth of Kinetoscope wasn't easy, and many experiments had to be done before its public release in 1893.

The first experiments were of course the famous "Monkeyshines" films, three movies where the camera captures (or tries to capture) the images of Edison's workers as they move in front of it. While not exactly successful (image looks pretty bad), those movies were the very first films shot in America and showed Edison the enormous potential of Dickson's invention. After many experiments, Dickson achieved the quality he desired and made the movie that would be shown to the press and 150 members of the National Federation of Women's Clubs in a private demonstration of the invention that took place on May 20, 1891. The first movie shown was this one, nowadays aptly titled "Dickson Greeting" because it consisted of a short 3 seconds scene where William K.L. Dickson appeared bowing and smiling, as if he was indeed greeting the first audience of his Kinetoscope. There were rumours that this film was also the very first movie with sound, with Dickson saluting his employer as he greeted him, but those rumours were probably created by Edison to increase the attention (not the first time he would use this tactic), and because Dickson was really working in making "talkies" (and he would be close to really make it, I must say).

Watching how Dickson's work improved from the "Monkeyshines" experiments to this movie is an amazing experience, as the quality of his movies improved drastically from bizarre images without any shape that appeared in his first three films to the high quality of his image moving gracefully in "Dickson Greeting". The fact that all this improvements took him less than a year is certainly a testament of the enormous genius of this man, who singlehandedly put Edison's company on the race towards motion pictures. On that day of May, this along with two other Kinetoscope movies (probably the two shorts about boxing) were shown to an audience for the first time, in what would mark the birth of the first device invented to watch movies. Kinetoscope, cinema's "granddaddy" had just been born.

8/10



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L' Arroseur arrosé (1895)

On December 28, 1895, thirty-three people were witnesses of history being written as the very first audience of the Lumières' Cinématographe, an innovative device that was able to project motion pictures on a screen. Motion pictures were not new for the people gathered on at Paris's Salon Indien Du Grand Café that day, as Edison's Kinetoscope (the "Peep Show") was a popular form of entertainment; however, nobody in the room was prepared to see the images projected on the screen to move as unlike the Kinetoscope, the Cinématographe allowed the movies to be seen by an audience. 10 short films shot by August and Louis Lumière were shown that historic day, most of them depicting everyday scenes like people walking out of the Lumière factory or playing cards, but one among those 10 short films was different: "L' Arroseur Arrosé", the first comedy film.

"L' Arroseur Arrosé", literally ("The Sprinkler Sprinkled"), is basically about a practical joke committed by a mischievous boy (Benoît Duval) to annoy a Gardener (François Clerc) who is working with his plants in Lyons. The movie begins with the Gardener watering his vegetables when the boy steps on the hose he is using to water the plants. The Gardener is surprised as the water stops flowing so he inspects the nozzle to find out what's happening. As he checks it, the boy releases the hose and the water continues flowing, spraying the gardener as it comes out of the hose with strength. Surprised by this, the Gardener quickly realizes that he's been tricked, but the boy responsible escapes running away in order to avoid being caught. The Gardener decides to chase the boy in order to punish him for his actions.

When compared to the other 9 movies shown on that first screening, "L' Arroseur Arrosé" always stand out as it was remarkably different from any of the other movies in the sense that it wasn't an "actuality film", but the very first staged fictional comedy shot on film. The Lumière brothers had a preference for documentaries (actuality films) as they weren't really interested in other uses for their invention besides the scientific documentation of real life events; so it is because of this reason that the creation of "L' Arroseur Arrosé" is truly a real oddity among Lumières' movies. Anyways, not only is this movie special for those reasons, it is also one of the best looking of the 10 (and one that has survived almost intact to this date), with the brothers showing a great early use of cinematography to frame the film.

In its barely 50 seconds of duration, "L' Arroseur Arrosé", opened the way to slapstick and pantomime in film, as the movie showed that it was possible to use the new invention to make pure entertainment, and that there was an extremely high unused potential in the Cinématographe. It wouldn't be too far of a stretch to claim that comedy films were born in this movie. While the reasons behind the inclusion of this film among 9 documentaries is odd, it was quite probably that this was the film that inspired a notable member of that first audience to make fictional movies aimed to entertain: Georges Méliès, who would later become a famous filmmaker on his own (and would direct a remake of this very film too).

9/10



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Monkeyshines, No. 1 (1890)

In 1888, American inventor Thomas Alva Edison had an idea that would serve as the basis to what we now call "movies", that idea was the Kinetoscope and soon a new source of entertainment would be created by the wild imagination of Edison's team. According to history, Edison heard rumors about the invention of motion pictures (they were indeed invented in 1888 by Louis Le Prince in Leeds, England) and quickly his mind began to craft his very own devise to achieve the same effect. Edison figured out that the images had the illusion of movement because they were sequential images over a light source with a high-speed shutter, and soon put the conceptual idea on paper; however, it wouldn't be Edison who would transform Kinetoscope from an idea to a reality, the man in charge of the project would be one of Edison's most rusted workers, a Scottish man named William K.L. Dickson. The series of short films codenamed "Monkeyshines" were Dickson's first attempts to produce motion pictures.

The "Monkeyshines" films were three experimental movies shot in the Edison laboratories in order to test Kinetograph, a camera invented to shot the movies that would appear in the Kinetoscope. With the collaboration of William Heise (who would become a prolific director of Kinetoscope films), Dickson shot one of Edison's workers in front of the camera doing gestures and movements. As actual experiments of their work, this movies do not have a plot or a theme, and only consist of Edison's workers moving in front of the camera to see if their images were captured. Due to age and the poor quality of this early experiments, it is impossible to know who appears in each movie, although it is often considered that G. Sacco Albanese is the one appearing in "Monkeyshines, No. 1". (some say that it is actually John Ott, but the debate continues)

While it was never released to the public (Dickson's second movie, "Dickson Greeting" has the honor of being the first American movie to be shown), "Monkeyshines, No. 1" is indeed the very first movie shot in the United States, marking the birth of the Kinetoscope and the beginning of the age of cinema as entertainment. After this monumental invention, Dickson would dedicate his most of his work in improving his machine (including an attempt to add sound!) although he also started making the kind of short films the people wanted to see in what was now known as "The Peep Show machine". While not exactly real cinema, William K.L. Dickson's amazing invention would be another big step ahead in what would culminate in 1895, with the Lumière brothers' invention of the Cinématographe.

7/10