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The Messers. Lumière at Cards (1896)

Partie d'écarté (original title)
Two men play cards, as a third watches and a waiter brings drinks. The third man pours drinks as the waiter laughs.

Director:

Louis Lumière
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Cast

Credited cast:
Antoine Féraud Antoine Féraud ... Valet
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Storyline

Three men sit around a table at a terrace outside a bistro. Two of them are playing cards, while the third calls the waiter by knocking at the table. The waiter arrives, receives the order, and is swiftly back, carrying a tray with a bottle of wine and three glasses. While the third man fills the glasses with wine, the waiter follows the card game with great interest, applauding and laughing loudly. The three men raise their glasses and toast. The two card players put more money on the table and continue their game. Written by Maths Jesperson {maths.jesperson1@comhem.se}

Plot Summary | Add Synopsis

Genres:

Documentary | Short

Parents Guide:

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Details

Country:

France

Release Date:

23 February 1896 (France) See more »

Also Known As:

The Messers. Lumière at Cards See more »

Company Credits

Production Co:

Lumière See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Silent

Color:

Color (hand-colored)| Black and White

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

Lumière Catalogue no. 73. See more »

Connections

Featured in Lumiere's First Picture Shows (2013) See more »

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User Reviews

 
Comedy waiter - the first Manuel?
6 September 2000 | by the red duchessSee all my reviews

this film is a close relation to 'Repas de Bebe', a static scene at a table, in contrast to the films of movement, such as 'Sortie d'Usine' or 'Arrivee d'un train', suggesting a schizophrenia in the Lumieres' aesthetic, between the settle domestic and the energy of motion.

Not that 'Partie d'ecarte' is a tableau vivante - there is plenty of movement here, as three cardsharks are served drinks by a hyperactive waiter, a waiter who disrupts all symmetry - the card game; the positioning of the players; the composition of the image, with his intrusive, gestural obsequiousness. In a way, though he IS linked to the game, a game based on chance; he too is a wild card unsettling all attempts at harmony, at minimising the risks of chance.

The film is wonderful for other things too - the precariousness of a social order; the image of the fat complacent bourgeois; the pleasant country inn; the pouring of drinks - another level of movement, or framing of movement, in this deceptive short.


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