A stationary camera looks across the boulevard at a diagonal toward one corner of Lyon's Cordeliers' Square. It's a long shot, with a great deal of depth of focus. We can see the sky and ... See full summary »
The sound has been found in the form of an old Edisonian recording cylinder. The cylinder was repaired, then Walter Murch ACE MPSE synced the film to the correct music in (I believe) 2002. Total running time is approximately 17 seconds.
The sea is quite rough, and at Dover a series of heavy waves pounds against a pier and along the adjacent shoreline. The scene then shifts to a different view of flowing water, and shows a heavy current from a point along a riverbank.
A photographer has his camera all set up to take a gentleman's picture. The subject checks his face in a hand mirror, and the photographer poses him. Just as the photographer is about to ... See full summary »
The clip shows a jockey, Domm, riding a horse, Sally Gardner. The clip is not filmed but instead consists of 24 individual photographs shot in rapid succession, making a moving picture when using a zoopraxiscope.
A stationary camera looks across the boulevard at a diagonal toward one corner of Lyon's Cordeliers' Square. It's a long shot, with a great deal of depth of focus. We can see the sky and fronts of four buildings, each four or five stories tall. It's a busy thoroughfare, with pedestrians walking in front of the buildings and crossing the boulevard between horse-drawn vehicles. A double-decker bus passes in front of us, pulled by two horses. Various tradesmen pass on wagons. One van passes. Written by
I'd really like to say a lot of nice things about this typically well-composed Lumiere actuality with lots of movement to keep the viewer interested throughout its length, but once I've said that much, there isn't anything more to say. This sort of shot was a standard production of the era -- I'm tempted to write "commonplace" except that when you're doing something early and get it right, that would be cruelly wrong.
The reason I find this just ordinary good is that nothing particularly interesting happens. There's no one fighting a wintry storm like Broadway AND UNION SQUARE (1902), there's nothing exciting like DISTRIBUTING A WAR EXTRA (1899) and no one looks at the camera, engaging the modern audience reproachfully as they do in so many Mitchell & Kenyon movies. It's just a well composed view of a world that has vanished. How jaded I am!
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