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 »
Another milestone in film history - this may well have been the very first film to have been developed and shown to its subjects (the members of the Congress of Photographic Societies) on ... See full summary »
A baby is seated at a table between its cheerful parents, Auguste and Marguerite Lumière. While the father is feeding the baby with a spoon, the mother is pouring coffee into her cup. The ... See full summary »
Mrs. Auguste Lumiere,
Auguste Lumière directs four workers in the demolition of an old wall at the Lumière factory. One worker is pressing the wall inwards with a jackscrew, while another is pushing it with a ... See full summary »
A gardener is watering his flowers, when a mischievous boy sneaks up behind his back, and puts a foot on the water hose. The gardener is surprised, and looks into the nozzle to find out why... See full summary »
A man opens the big gates to the Lumière factory. Through the gateway and a smaller doorway beside it, workers are streaming out, turning either left or right. Most of them are women in ... See full summary »
A chemist in his laboratory places upon a table his own head, alive; then fixing upon his head a rubber tube with a pair of bellows, he begins to blow with all his might. Immediately the ... See full summary »
In the background is a house. In the foreground, a groom holds the reins of a sleek black horse that stands in profile. A tall man, dressed in a black uniform, demonstrates how to mount the... See full summary »
Outdoors, with a nondescript building in the background, four men stand, each holding the corner of a blanket stretched parallel to the ground. They wear the clothes of laborers. By the ... See full summary »
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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