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"In the Lumière films,
the people we see,

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They are not our ancestors,
They are not our grandparents or our ancestors.

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It's us."
AGNÈS VARDA, LYON, 2016

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In the late summer of 1894,

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Antoine Lumière,
father of Louis and Auguste,

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discover the kinetoscope
of Thomas Edison in Paris.

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It is a small individual screen

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in which images come to life
when inserting a coin.

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«We will take the image out of the box»,
Antoine thought.

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«And we will project it before the public,
on a giant screen.

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«I'm going back to Lyon,
"My children will figure it out."

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WRITTEN AND NARRATED BY THIERRY FRÉMAUX

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WITH A SERIES
OF CINEMATOGRAPHIC FILMS

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SHOT BY LOUIS LUMIÈRE AND HIS CAMERAS
FROM 1895

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LUMIÈRE
THE ADVENTURE CONTINUES

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Since the miracle lies in its mechanics
and in its simplicity,

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would be enough
by simply remembering the fascination

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that awakened the Lumière cinematography.

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But the images he created gave rise to
a new way of representing life,

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as<i>From the bow of an ocean liner
in rough seas,

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the title of this movie.

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We could limit ourselves to contemplating
these images,

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but they reveal to us the splendor
of the world again,

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and they demand more of our gaze
than we had ever imagined.

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The movies you're about to see

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express our desire to speak
of aesthetics, staging and framing.

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We will leave the disputes behind
about the creators of primitive cinema,

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because all those who preceded Lumière
They are co-inventors of cinema,

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including charlatans,
the adventurers,

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the prophets and the madmen.

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When it was published in 1895,

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the Lumière cinematographer
He swept away everything that stood in his way.

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It will unite its creators,
and will gather his dreamers.

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And it would become an art
in its own right by becoming cinema.

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However, one day, the Lumière films
They disappeared from the screen.

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We decided to take them again
to the movie theaters, to project them once again.

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We will project them on the big screen,
as the great works they really are.

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They come accompanied by music
by Gabriel Fauré,

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a contemporary of the Lumières.

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Each movie was 50 seconds long.

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We will discover about a hundred of them.

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Thus, based on many Lumière films,
We will create a single Lumière film.

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They have been preserved and restored.

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Today, its beauty can come to light,

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giving them back to the world
like his forgotten memory.

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Because Lumière already embodies cinema.

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1894
BRINGING LIFE TO IMAGES

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«I'm going back to Lyon, my children
They'll figure it out," says Antoine.

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Take the train, like the one
that appears in this film, number 931.

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The Lumière brothers get to work.

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First Auguste, the eldest,
then Louis, the youngest.

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All over the world,

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attempts are being made
for inventing what would become cinema.

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Louis reflects on what already exists
and add something of your own.

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One night when I couldn't sleep,
inspiration comes.

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The mechanism of a sewing machine,
the persistence of vision,

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the need for perfect movement.

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Before Christmas,
The device is now in operation.

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What gave rise to a family legend,
Auguste used to say:

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«One night when I couldn't sleep,
"My brother invented cinema."

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Louis Lumière has just devised
a technique

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and, in doing so, has projected the future.

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We are in Lyon at the beginning of 1895.

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Antoine Lumière is happy.
Their children have achieved it.

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Now we're going on a trip. Here in New York,
not far from Union Square.

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In that winter of 1895,

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an engineer from the Lumière factory
travel to America

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to buy rolls of film at
New York Celluloid Company.

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To this "movie",
a name taken from English,

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Lumière applies a chemical emulsion
of his own elaboration.

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Maintains the 35 mm format,

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the same width
than Thomas Edison's Kinetoscope.

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To avoid accusations
patent infringement,

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opt for round piercings
instead of square,

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and a single perforation per frame,

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instead of four
as in the American system.

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Nowadays,
This remains the distinctive feature

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of the films made
with cinematographer Lumière.

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In Lyon, while three transport columns
They parade through the Place Bellecour,

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under the Fourvière basilica,

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Louis and Auguste Lumière
They registered a patent in February 1895,

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one of the hundreds who would sign
throughout their lives.

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Your device does not have a name yet.

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His father, Antoine, suggests a name
What has occurred to him, <i>Domitor</i>,

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which would make the device stand out
in an already saturated lexical panorama.

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Louis refuses.
He wants to call it a "cinematographer",

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which means "writing in motion."

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But Léon Bouly, a French inventor
who never really invented anything,

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had registered the name,
so they would have to wait.

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At the Lumière factory,
everyone works tirelessly,

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like these carpenters at their workbenches,

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00:10:04,747 --> 00:10:07,959
setting a rhythm with their
horizontal and vertical movements,

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in a ballet
that elegantly fills the space,

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00:10:10,573 --> 00:10:14,845
as if they had to show all aspects
of his art in 50 seconds.

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00:10:18,647 --> 00:10:22,073
Nearby, Louis and Auguste
They are in his laboratory.

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00:10:22,132 --> 00:10:24,722
They are putting the finishing touches
to your device,

97
00:10:24,775 --> 00:10:27,364
since it is scheduled to be presented in Paris.

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00:10:41,849 --> 00:10:43,570
The Lumières travel to Paris.

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00:10:43,623 --> 00:10:46,534
Louis decides not to present
the device itself,

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but rather the use
for which it is intended.

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For this,

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you need to create a chronophotographic vision
, that is, a movie.

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They are expected on March 22,
so they have to act quickly.

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Everything takes place between
the 15th and the 20th, probably the 19th.

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00:11:05,387 --> 00:11:08,049
There is nothing certain,
but that day it didn't rain,

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which made it an ideal day
for filming (<i>tournage</i>).

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We say <i>tournage</i>
because the crank has to turn.

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The expression has become popular.

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The movie is ready. They will call her

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<i>«The workers leaving the Lumière factory»</i>,
or, simply, <i>The factory outlet</i>.

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They get on the train and leave Lyon,
full of enthusiasm.

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In France, nothing is decided
outside the capital.

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On March 22, 1895,

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Auguste and Louis presented their work
before his scientific colleagues.

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First of all, they talk about their work
about color photography,

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a dream very dear to them,
which would give rise to autochromes.

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At the end of the session,
present the cinematograph,

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although he was not yet known by that name.

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The new device surprises the public
when projecting moving images,

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in which a procession is seen
of workers

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that go through the doors
from the Lumière factory.

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Those present, including Léon Gaumont,

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a friend of Louis Lumière,
They are impressed.

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More than that, it is a triumph.

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Let's review what we know.

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00:12:33,542 --> 00:12:36,747
It is believed that the filming
in Lyon on Tuesday March 19,

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at lunch time,
to take advantage of sunlight.

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Louis Lumière stands in front
of the factory gates in Montplaisir.

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Ask people to leave
in the most natural way possible.

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They don't always pay attention to him,
throwing some glances at the camera

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trapped in innocence and emotion
of a new experience.

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But a mystery remains.

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What version did they screen in Paris?

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00:12:59,274 --> 00:13:02,721
There is this one,
the best known and the most beautiful.

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00:13:02,774 --> 00:13:06,166
However, the press mentions a horse-drawn carriage
car that does not appear here.

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00:13:06,219 --> 00:13:08,774
In fact, there is also this version,

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00:13:08,854 --> 00:13:11,614
in which you see a carriage
and a horse.

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00:13:11,668 --> 00:13:15,825
What's more, people are dressed like
in March, at the end of winter.

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00:13:15,878 --> 00:13:18,799
Could this be <i>Factory Outlet</i>
the correct one?

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00:13:19,136 --> 00:13:21,627
Then a third version was found.

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00:13:21,680 --> 00:13:25,041
A drawn carriage, as you will see,
for two horses.

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00:13:25,396 --> 00:13:27,763
Which suggests large scale production.

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We can't be sure of anything,
except for one thing.

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00:13:31,364 --> 00:13:33,239
When Lumière turns the crank,

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00:13:33,293 --> 00:13:36,080
the course of history is defined
in technical achievement

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of a small iron and wood contraption,
designed to perfection.

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00:13:40,705 --> 00:13:44,836
More than just a scoop,
the emotion of three versions

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and two remakes
He discovers something new to us.

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A subject, a frame, a shot.

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00:13:51,569 --> 00:13:55,098
And the determination, on the part
of the Lumières, of taking things to the end.

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Faith in an event in which,
despite the legend,

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They attached great importance.

153
00:14:01,413 --> 00:14:03,951
That day, a stage came to an end.

154
00:14:04,143 --> 00:14:07,530
There were many inventors
before Lumière. There were none afterward.

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00:14:07,583 --> 00:14:09,849
With this first film,
everything is already present.

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00:14:09,902 --> 00:14:12,032
Cinema is cinema.

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00:14:33,264 --> 00:14:36,556
Every year,
The Lumière family travels to La Ciotat,

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00:14:36,613 --> 00:14:38,835
to the Clos des Plages estate.

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In the summer of 1895,

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Louis dedicates his time
perfecting his apparatus, taking shots,

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In short, record videos,
although that term was not yet used.

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I filmed a few scenes,
something I would do every summer,

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like this one, <i>Boarding for the excursion</i>,

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a portrait of family life.

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A private port, a small boat,
a few friends from Lyon.

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In 50 seconds, everything you define should be shown
an exit to the sea must be reflected.

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Saying goodbye to those who leave

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and, with the handkerchief in his hand,
We do it quite effusively.

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With Lumière,
There is always time for children.

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00:15:21,108 --> 00:15:24,231
Let's take a look at this movie,
which is almost a sequel to the previous one.

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The camera moves towards the sea.

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A different team, but the same scenario.

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The Lumières record themselves,
and their children.

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They did it often.

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A summer afternoon, swimming and games,
the feeling of walking on water,

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that illustrates the magic
of the new invention.

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00:15:41,152 --> 00:15:44,721
Louis Lumière films other themes,
in Lyon and in La Ciotat.

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projects them
to entertain your family and friends,

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and to make sure everything works correctly.

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It's starting to take shape,

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with projections that surprise
and move the public.

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00:16:04,061 --> 00:16:08,308
From the Mediterranean,
They return to Lyon once again by train.

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00:16:08,361 --> 00:16:11,471
This film remembers the work
by the English painter J.M.W. Turner,

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who had already represented trains 50 years before.

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00:16:14,146 --> 00:16:17,374
The inspiration is the same.
Lumière shows the movement.

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00:16:17,427 --> 00:16:20,072
Place your camera on the ceiling
of a locomotive,

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that expels its steam
in the darkness of the tunnels.

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00:16:23,239 --> 00:16:27,726
Thus, cinema offers the viewer
a place it had never occupied before.

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The camera as a substitute for the gaze.
This is just the beginning.

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00:16:32,800 --> 00:16:35,932
In the fall of 1895,
Louis begins to ask himself questions.

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00:16:36,047 --> 00:16:38,533
Should cinematography be reserved
to science,

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00:16:38,586 --> 00:16:40,250
or made available to the public?

193
00:16:40,303 --> 00:16:42,182
The second option prevails.

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00:16:42,817 --> 00:16:45,752
Antoine, the father,
He says, "Leave it to me."

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00:16:45,805 --> 00:16:48,450
The arrival of cinema is just around the corner.

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00:16:48,863 --> 00:16:54,282
1895
IMAGE PROJECTION

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00:17:17,628 --> 00:17:21,412
When Lumière presents his device
in March 1895,

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00:17:21,485 --> 00:17:23,313
performs a double gesture.

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00:17:23,367 --> 00:17:27,280
He is the last of the inventors,
and the first of the filmmakers.

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00:17:50,243 --> 00:17:52,472
<i>The departure of the workers from the factory</i>
changes everything.

201
00:17:52,525 --> 00:17:55,170
This film offers irrefutable proof.

202
00:17:55,344 --> 00:17:57,783
Disputes between inventors have faded.

203
00:17:57,836 --> 00:17:59,613
The essential nature
of the cinematographer

204
00:17:59,667 --> 00:18:01,384
is what will now permeate

205
00:18:01,437 --> 00:18:05,380
the millions of films that will be shot thanks to it,
in the years to come.

206
00:18:05,433 --> 00:18:09,372
The cinema has already arrived fully formed,
as he will always be known.

207
00:18:38,567 --> 00:18:41,121
These two Parisian women
in the foreground they don't know,

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00:18:41,174 --> 00:18:43,330
but something is happening
very close to there,

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00:18:43,383 --> 00:18:46,939
not far from the Eiffel Tower
and of the Field of Mars that we saw before,

210
00:18:47,008 --> 00:18:50,288
and the Petit Palais
and the Grand Palais, which can now be seen.

211
00:19:09,768 --> 00:19:14,195
It is the fall of 1895.
The Lumière event is about to begin.

212
00:19:28,436 --> 00:19:31,195
Antoine Lumière enjoys Parisian life.

213
00:19:31,338 --> 00:19:33,348
Choose a location
on the Grand Boulevards,

214
00:19:33,401 --> 00:19:35,344
where fashionable society meets.

215
00:19:35,397 --> 00:19:39,520
It is the Indian Room of the Grand Café,
at number 14 Boulevard des Capucines,

216
00:19:39,577 --> 00:19:43,182
near the Opera Garnier,
whose majestic presence

217
00:19:43,235 --> 00:19:47,145
is the theme of this Lumière film,
number 154.

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00:19:49,320 --> 00:19:53,627
From this moment on, the device
It is officially called a "cinematograph."

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00:19:53,680 --> 00:19:57,183
The ad claims that it can
«reproduce the movement

220
00:19:57,236 --> 00:20:02,428
projecting life-size images on
a screen in front of the entire public.

221
00:20:02,656 --> 00:20:06,489
Since March,
Louis has filmed about ten films.

222
00:20:06,687 --> 00:20:11,836
His father plans to screen them
on December 28 of that same year, 1895.

223
00:20:11,959 --> 00:20:17,218
This will be the first paid public screening
of the Lumière cinematographer.

224
00:20:28,713 --> 00:20:31,273
Today we know this first projection well.

225
00:20:31,326 --> 00:20:33,096
Start with
<i>The departure of the workers from the factory</i>,

226
00:20:33,149 --> 00:20:36,844
the rue Saint-Victor, the women, the men,
the bicycles, the dog,

227
00:20:36,908 --> 00:20:39,667
We have already reviewed it,
you know everything by heart.

228
00:20:42,863 --> 00:20:46,521
<i>La voltige</i>, in which a soldier
pretend to be clumsy

229
00:20:46,574 --> 00:20:48,803
and unable to stay on his horse.

230
00:20:58,981 --> 00:21:00,680
Then we have <i>The hunt for the goldfish</i>,

231
00:21:00,736 --> 00:21:04,334
showing Auguste Lumière
shaking little Andrée,

232
00:21:04,431 --> 00:21:06,213
who doesn't understand what he wants

233
00:21:06,267 --> 00:21:09,066
and look at the camera
with desperation.

234
00:21:14,704 --> 00:21:17,010
<i>The Photographic Congress
arrives in Lyon</i>,

235
00:21:17,063 --> 00:21:19,099
filmed by Louis in Neuville-sur-Saône,

236
00:21:19,152 --> 00:21:22,488
those attending the congress
They are already having a good time.

237
00:21:31,010 --> 00:21:34,510
<i>The blacksmith in action</i>,
a blacksmith so proud to be engraved

238
00:21:34,563 --> 00:21:38,145
who decided to wear a white shirt
and a tie.

239
00:21:42,451 --> 00:21:45,882
We know that <i>The irrigated waterer</i>,
the first work of fiction, the first joke,

240
00:21:45,935 --> 00:21:48,726
one of the
Jean-Luc Godard's favorite movies.

241
00:21:57,147 --> 00:21:58,599
Then there's <i>A Baby's Breakfast</i>,

242
00:21:58,652 --> 00:22:01,651
which once again shows Auguste Lumière
and his family,

243
00:22:01,704 --> 00:22:06,025
Of course, since Louis is recording
and Auguste is the one who acts.

244
00:22:07,763 --> 00:22:11,531
<i>Jumping on the blanket</i>, very similar to
<i>The voltage</i>,

245
00:22:11,628 --> 00:22:14,387
It's a boy's game, a barracks joke,

246
00:22:14,510 --> 00:22:17,029
one of many movies of this type
that would come later,

247
00:22:17,082 --> 00:22:20,394
which raised some doubts about the quality
of our troops.

248
00:22:22,758 --> 00:22:26,519
Place des Cordeliers, in Lyon.
The camera is placed on the street,

249
00:22:26,572 --> 00:22:29,900
the cinema observes.
A future classic.

250
00:22:33,289 --> 00:22:36,246
And finally, <i>The sea</i>, in La Ciotat,

251
00:22:36,320 --> 00:22:37,996
one late summer afternoon,

252
00:22:38,094 --> 00:22:41,019
the children play on the pier,
jumping into the water from it.

253
00:22:41,072 --> 00:22:44,270
Those children to whom the cinema
will always remember fondly.

254
00:22:46,717 --> 00:22:49,566
That was the program
from the first screening.

255
00:22:49,619 --> 00:22:51,545
What the public saw.

256
00:22:51,993 --> 00:22:55,824
Among those invited to the screening,
a man is sitting in the front row.

257
00:22:55,877 --> 00:23:00,044
At first, the still image that appears on the screen
He is not impressed.

258
00:23:00,108 --> 00:23:02,098
"Have they brought me here for this?"
says,

259
00:23:02,151 --> 00:23:03,978
But when the crank starts to turn,

260
00:23:04,031 --> 00:23:06,451
and the films are revealed
in all its splendor,

261
00:23:06,504 --> 00:23:08,075
is left speechless.

262
00:23:10,167 --> 00:23:12,873
At the end of the performance,
approaches Antoine Lumière

263
00:23:12,926 --> 00:23:15,846
and begs him
Let him sell you this new invention.

264
00:23:15,899 --> 00:23:20,433
To remove a potential competitor,
the latter responds mischievously:

265
00:23:20,486 --> 00:23:24,071
«The machine is not for sale.
Thank you, young man,

266
00:23:24,124 --> 00:23:27,264
It would ruin you. "It has no future."

267
00:23:28,098 --> 00:23:30,650
That man was Georges Méliès.

268
00:23:32,816 --> 00:23:38,275
1896
AN INVENTION FOR THE PUBLIC

269
00:23:46,042 --> 00:23:48,930
"Cinema is an invention without a future."

270
00:23:49,174 --> 00:23:53,689
A comment taken out of context and quoted
mistakenly over and over again as if it were a prophecy.

271
00:23:53,972 --> 00:23:56,209
The Lumières came to produce
more than 2,000 movies,

272
00:23:56,262 --> 00:23:58,806
what it shows
who, without a doubt, saw a future in it.

273
00:23:58,859 --> 00:24:02,158
Projecting images means
invent the public who sees them.

274
00:24:02,211 --> 00:24:04,393
So Louis Lumière starts to think
in his audience.

275
00:24:04,446 --> 00:24:07,741
He shoots a large number of films,
trains camera operators,

276
00:24:07,794 --> 00:24:11,469
like the one we see here,
rolling near the Tuileries Garden,

277
00:24:11,522 --> 00:24:13,646
<i>Parade of flowery cars</i>.

278
00:24:13,727 --> 00:24:16,274
Or, rather, trying to do it,

279
00:24:16,327 --> 00:24:20,127
since you seem to have some difficulties
set up your cinematograph.

280
00:24:20,374 --> 00:24:22,650
As noted by historian Paul Génard,

281
00:24:22,703 --> 00:24:25,771
thread film
It had been in the camera for a while.

282
00:24:25,864 --> 00:24:29,208
In any case, he takes it easy.
The length of a movie.

283
00:24:34,104 --> 00:24:36,484
Now the operator can continue.

284
00:24:36,611 --> 00:24:39,678
It's amazing to see these two movies.
projected one after another.

285
00:24:39,731 --> 00:24:42,436
Maybe we would even have liked to see
what was rolling,

286
00:24:42,489 --> 00:24:44,949
but maybe
It wasn't actually recording anything.

287
00:24:45,002 --> 00:24:47,967
This film, like the previous one,
It's a "how it was made",

288
00:24:48,032 --> 00:24:51,683
probably the first time
that you see a filmmaker working.

289
00:24:52,261 --> 00:24:56,479
Notice that the crank is positioned facing
the target, rather than to the side.

290
00:24:56,532 --> 00:24:59,653
Mounted on a tripod,
the device is easy to use,

291
00:24:59,706 --> 00:25:02,770
light,
and can be easily transported.

292
00:25:03,380 --> 00:25:05,862
Shooting a movie is a solemn affair.

293
00:25:05,927 --> 00:25:08,811
Everyone behaves seriously,
like this operator and his team,

294
00:25:08,864 --> 00:25:12,835
just like this woman,
perfectly dressed for the occasion.

295
00:25:13,080 --> 00:25:16,425
There is a gendarme present,
who, apparently, is watching the filming,

296
00:25:16,478 --> 00:25:19,363
but without paying attention to this man
that crosses the street

297
00:25:19,412 --> 00:25:21,430
at the most inopportune moment.

298
00:25:40,634 --> 00:25:44,188
Every operator Lumière sends
to the world stage

299
00:25:44,242 --> 00:25:46,666
contributes to a great company.

300
00:25:46,719 --> 00:25:49,714
Movies are produced in large numbers,
rolling everywhere.

301
00:25:49,768 --> 00:25:54,325
Yes, young man. To fill the screens
of the new cinemas opening in Paris,

302
00:25:54,382 --> 00:25:57,397
in Lyon, in Brussels,
in London and Berlin.

303
00:25:57,450 --> 00:25:59,639
And here, in Vienna, Austria,

304
00:25:59,721 --> 00:26:03,382
where Lumière, or more specifically
its operator Charles Moisson,

305
00:26:03,447 --> 00:26:06,376
show entry
of a movie theater.

306
00:26:06,897 --> 00:26:08,558
Through images of the city streets,

307
00:26:08,616 --> 00:26:12,009
cinema never stops documenting
his own story.

308
00:26:26,814 --> 00:26:29,885
Just two weeks
of the screening at the Grand Café,

309
00:26:29,938 --> 00:26:32,306
Lumière gets behind the camera again.

310
00:26:32,947 --> 00:26:35,293
"You have to entertain the audience,"
his father tells him,

311
00:26:35,346 --> 00:26:38,637
so invite Félicien Trewey,
a cabaret artist,

312
00:26:38,695 --> 00:26:42,332
clown and magician,
but also a friend of the family.

313
00:26:42,881 --> 00:26:46,817
As you can see, he is dressed elegantly.
for the occasion,

314
00:26:46,914 --> 00:26:48,936
with patent leather shoes and a tailcoat.

315
00:26:48,989 --> 00:26:53,189
He and Louis created <i>Assiettes tournantes</i>,
the title of this movie,

316
00:26:53,243 --> 00:26:57,294
which, although it may seem incredible, appears as
number one in the official catalogue.

317
00:26:57,347 --> 00:27:01,324
Starting with small plates,
and then move on to the bigger ones.

318
00:27:01,409 --> 00:27:05,299
Huge plates that spin like plates,
while performing his number.

319
00:27:10,338 --> 00:27:11,925
Ready? Already!

320
00:27:15,073 --> 00:27:17,835
And since they were there, they shot another one.

321
00:27:17,888 --> 00:27:20,262
In fact, they would make six at once.

322
00:27:20,316 --> 00:27:23,999
The repertoire is the same, but Félicien Trewey,
to vary a little,

323
00:27:24,052 --> 00:27:26,606
He has perfected his wardrobe, adding a wig,

324
00:27:26,659 --> 00:27:29,719
and a white paper.

325
00:27:29,863 --> 00:27:33,505
The film is titled <i>Serpent</i>.
Trewey unfurls a banner,

326
00:27:33,558 --> 00:27:36,504
with its numerous arabesques
drawing a white trail

327
00:27:36,602 --> 00:27:39,661
which seems to hypnotize the magician himself.

328
00:27:43,260 --> 00:27:46,185
«The illusion of the snake is
complete," wrote the press at that time.

329
00:27:46,238 --> 00:27:47,891
It didn't take much.

330
00:27:51,260 --> 00:27:54,429
And hop, hop, hop,
one more turn, and then another,

331
00:27:54,482 --> 00:27:57,197
and finally, hup, hup!
And that's it, ready.

332
00:27:57,250 --> 00:27:59,074
Félicien has given everything.

333
00:28:13,162 --> 00:28:15,784
The cinematographer
It is an immediate success.

334
00:28:15,837 --> 00:28:19,066
Public enthusiasm is just beginning
to establish itself.

335
00:28:19,119 --> 00:28:22,047
Lumière explores all genres.
comedies,

336
00:28:22,153 --> 00:28:25,330
realistic scenes,
and short sequences like this,

337
00:28:25,383 --> 00:28:29,087
in which the Lumière wives appear,
Rose and Marguerite Winckler.

338
00:28:29,141 --> 00:28:31,374
A musical concert. Piano, violin,

339
00:28:31,431 --> 00:28:35,158
and a discussion, just like in Fellini's film
<i>«Orchestra rehearsal»</i>.

340
00:28:36,383 --> 00:28:38,755
Speaking of these two women,
worth noting

341
00:28:38,808 --> 00:28:42,641
that four of the Winckler children
They would marry four Lumière children.

342
00:28:42,694 --> 00:28:45,575
Antoine, his father,
I told them:

343
00:28:45,639 --> 00:28:49,944
«Don't complain. Among all of you,
You only have one mother-in-law.

344
00:29:01,096 --> 00:29:04,202
There are many movies that show

345
00:29:04,255 --> 00:29:06,859
that Lumière really thought
In terms of spectacle,

346
00:29:06,912 --> 00:29:10,069
and that, from the beginning,
He was already a true filmmaker.

347
00:29:10,122 --> 00:29:12,999
Look at this movie, filmed in 1896.

348
00:29:13,261 --> 00:29:16,146
We have already seen <i>The watered irrigator</i>,
one of the first films.

349
00:29:16,199 --> 00:29:20,553
There was also <i>The Card Game</i>.
Here, Lumière combines both,

350
00:29:20,774 --> 00:29:22,742
<i>Scattered card players</i>.

351
00:29:23,019 --> 00:29:26,412
The effect is multiplied
with intersecting plots,

352
00:29:26,466 --> 00:29:28,886
as in "Godzilla vs. King Kong."

353
00:29:28,939 --> 00:29:33,191
Suspense, improvisation,
everyone fighting against everyone.

354
00:29:33,282 --> 00:29:35,329
In short, magnificent nonsense,

355
00:29:35,382 --> 00:29:38,458
but a conceived nonsense
to please the public.

356
00:29:56,768 --> 00:30:00,334
Louis Lumière, here behind the camera,
understands his time.

357
00:30:00,387 --> 00:30:04,657
He senses that cinema will become
a new form of art and entertainment.

358
00:30:04,710 --> 00:30:06,699
The public will be part
of the show,

359
00:30:06,752 --> 00:30:10,906
Even when everyone is silent,
captivated by a character or a gesture,

360
00:30:10,959 --> 00:30:17,412
letting the silence of the room
express your own amazement.

361
00:30:41,589 --> 00:30:43,860
Men and women sitting on two benches,

362
00:30:43,913 --> 00:30:46,750
whose lines of perspective converge
towards the center of the action.

363
00:30:46,803 --> 00:30:48,322
The framing is perfect.

364
00:30:48,375 --> 00:30:49,707
Dresses for the occasion,

365
00:30:49,760 --> 00:30:51,902
observe the scene
and present it to the public.

366
00:30:51,955 --> 00:30:56,414
This would become a characteristic trait of the Lumières:
insistent looks at the camera,

367
00:30:56,468 --> 00:30:59,999
how to make sure
that the spectators are with them.

368
00:31:00,294 --> 00:31:03,153
They are exaggerating a little
over there to the right, but it doesn't matter,

369
00:31:03,206 --> 00:31:05,941
show us the wonder
of this show.

370
00:31:06,707 --> 00:31:08,625
We had already guessed what it was about.

371
00:31:08,694 --> 00:31:13,006
And there it is: the painting was
It was upside down, now it is in its correct position.

372
00:31:13,787 --> 00:31:16,578
Bravo, bravo, to the delight of the public.

373
00:31:19,225 --> 00:31:21,388
And, of course, a "thank you."

374
00:31:29,000 --> 00:31:33,319
This film was shot in the
MICAREM exhibition of 1899, in Paris.

375
00:31:35,660 --> 00:31:39,824
A more detailed look
reveals great activity.

376
00:31:39,948 --> 00:31:43,560
Carriage parades,
women dressed for the ceremony,

377
00:31:43,617 --> 00:31:47,580
men with top hats,
and soldiers with spiked helmets.

378
00:31:47,751 --> 00:31:50,314
And this impromptu confetti battle,

379
00:31:50,368 --> 00:31:53,671
that also
as a rather masculine way of courting.

380
00:32:11,729 --> 00:32:12,786
Yes, yes, sir.

381
00:32:12,944 --> 00:32:15,751
No need to check it,
We have seen it perfectly.

382
00:32:24,388 --> 00:32:25,710
Invent the public

383
00:32:25,763 --> 00:32:29,436
is also to show it,
to return to movie theaters.

384
00:32:29,489 --> 00:32:31,926
This film is titled <i>The Broken Pot</i>.
The premise?

385
00:32:31,979 --> 00:32:36,675
A man, blindfolded, has to break
the vessels suspended with a stick.

386
00:32:37,272 --> 00:32:39,345
So he's blind, he's groping,

387
00:32:39,405 --> 00:32:42,197
and comedy arises
of his clumsiness,

388
00:32:42,250 --> 00:32:44,203
which makes the audience laugh.

389
00:32:44,683 --> 00:32:46,880
For the first time,
the theater audience

390
00:32:46,933 --> 00:32:48,968
observe the audience of the film.

391
00:32:49,021 --> 00:32:50,355
Men sense what is coming,

392
00:32:50,421 --> 00:32:52,622
waiting for the contestant
make a fool of yourself

393
00:32:52,675 --> 00:32:56,433
The children are both attentive
and they burst out laughing.

394
00:32:56,486 --> 00:32:58,119
Well, it's taking too long.

395
00:32:58,184 --> 00:33:00,808
The camera even stopped
and then it started up again.

396
00:33:00,861 --> 00:33:03,205
I had 50 seconds
To complete the challenge,

397
00:33:03,258 --> 00:33:05,691
and we won't even know the result.

398
00:33:11,749 --> 00:33:14,035
Beyond his search for the spectacular,

399
00:33:14,088 --> 00:33:17,420
the cinematographer became the chronicler
of his time.

400
00:33:17,473 --> 00:33:20,621
And that time was the era of acrobats
and the circus.

401
00:33:20,674 --> 00:33:24,945
Consequently, several films are dedicated
to a family of virtuoso gymnasts,

402
00:33:24,998 --> 00:33:28,269
the Kremos.
The first one is called <i>Somersault</i>,

403
00:33:28,456 --> 00:33:31,434
that starts with a warm-up
between a boy and a girl.

404
00:33:31,550 --> 00:33:35,154
And then this kid here,
That prepares us for what comes next.

405
00:33:43,717 --> 00:33:45,474
One: a single somersault.

406
00:33:46,683 --> 00:33:48,859
Two: double somersault.

407
00:33:50,075 --> 00:33:52,163
Three: triple somersault.

408
00:33:56,585 --> 00:33:58,502
And, hoop!, there it goes.

409
00:33:58,579 --> 00:34:00,385
No. The reverence.

410
00:34:03,527 --> 00:34:09,410
MILITARY RHYTHMS

411
00:35:03,600 --> 00:35:06,730
Lumière's films show us
What was his time like?

412
00:35:06,788 --> 00:35:09,753
A time of military life,
provincial dens,

413
00:35:09,812 --> 00:35:11,631
and young people in training.

414
00:35:11,689 --> 00:35:13,772
In France, and also in other places.

415
00:35:13,830 --> 00:35:16,693
The whole world liked it
see their armies parade.

416
00:35:16,751 --> 00:35:20,472
National pride was expressed
through demonstrations of force,

417
00:35:20,542 --> 00:35:23,146
discipline and speed.

418
00:35:24,390 --> 00:35:26,358
Well, in this specific case,

419
00:35:26,430 --> 00:35:29,758
discipline and speed were,
let's say, relative.

420
00:35:52,883 --> 00:35:54,823
First, a bugle call.

421
00:36:05,553 --> 00:36:08,561
The title of this film is
in the Lumière catalogue.

422
00:36:08,614 --> 00:36:11,729
It is titled <i>The Alarm</i>,
and shows a group of soldiers

423
00:36:11,782 --> 00:36:14,638
who abandon a farm
where they spent the night.

424
00:36:24,823 --> 00:36:27,914
We can see that the bugler becomes
the real director,

425
00:36:27,968 --> 00:36:32,557
ready for everyone to leave on time,
that is, within 50 seconds.

426
00:36:38,294 --> 00:36:39,672
That's it, ready.

427
00:36:40,185 --> 00:36:42,345
Oh no, there's still one left! Fast!

428
00:36:42,398 --> 00:36:45,491
And this child who thought
that filming had already finished.

429
00:36:49,342 --> 00:36:53,839
The cult of militarism also implied
the display of the armies of other nations.

430
00:36:53,893 --> 00:36:57,826
The Mexican army, in this case,
performing a bayonet exercise

431
00:36:57,879 --> 00:37:00,770
of admirable choreographic inventiveness.

432
00:37:01,075 --> 00:37:03,636
One might think that it has accelerated,
but no.

433
00:37:03,689 --> 00:37:07,669
The frame rate ranged from 16
and 20 frames per second.

434
00:37:07,801 --> 00:37:10,499
Recorded at a fast pace,
say, at about 20 frames per second,

435
00:37:10,552 --> 00:37:13,652
the film would be shown
in slow motion, as we see here.

436
00:37:13,705 --> 00:37:15,662
Well, maybe not so slow motion.

437
00:37:16,026 --> 00:37:19,594
If, on the contrary,
it will roll more slowly,

438
00:37:19,647 --> 00:37:23,349
then it looks choppy in the projection,
as we see here.

439
00:37:25,766 --> 00:37:29,663
But the operator had freedom
to set the correct speed.

440
00:37:55,649 --> 00:37:59,549
Over time, the public began to tire
to see the armies parade.

441
00:37:59,602 --> 00:38:02,710
Innovation would arise
from the unexpected, even from an accident,

442
00:38:02,763 --> 00:38:06,705
when operators let chance
that causes the decisive moment.

443
00:38:06,758 --> 00:38:08,920
Here in Italian Lombardy,

444
00:38:08,973 --> 00:38:11,436
a military truck gets stuck
in a ravine.

445
00:38:11,489 --> 00:38:14,103
A man raises his arm,
believing that the film has been ruined.

446
00:38:14,156 --> 00:38:15,349
On the contrary.

447
00:38:15,407 --> 00:38:18,554
He does not realize that the incident
gives this shot a dramatic intensity

448
00:38:18,607 --> 00:38:22,163
worthy of William Wellman films
or John Ford.

449
00:38:42,103 --> 00:38:44,661
"My God, how beautiful war is!"
just as seen on the screen.

450
00:39:28,781 --> 00:39:31,369
History would be full
of war movies like these,

451
00:39:31,427 --> 00:39:34,214
admirably composed
from an aesthetic point of view.

452
00:39:34,281 --> 00:39:38,171
This one, taken in the Alps
in the summer of 1899,

453
00:39:38,226 --> 00:39:40,174
It is titled <i>Mountain Battery</i>.

454
00:39:40,275 --> 00:39:43,329
And the general movement, which begins
in the background of the image,

455
00:39:43,395 --> 00:39:45,982
marked by rhythm
of the flow of the torrent

456
00:39:46,050 --> 00:39:49,172
and the smoke of the explosions,
ends in the foreground,

457
00:39:49,226 --> 00:39:52,034
with soldiers falling to the ground.

458
00:39:55,348 --> 00:39:57,848
If you wanted an example
of a sequence shot in a single take,

459
00:39:57,902 --> 00:40:00,163
This movie could be played over and over again.

460
00:40:00,218 --> 00:40:01,652
It's magnificent.

461
00:40:17,533 --> 00:40:22,583
IN THE CITIES, IN THE COUNTRYSIDE,
IN THE MIDDLE OF THE CROWD

462
00:40:34,832 --> 00:40:38,400
Back to Paris, the other city of the Lumières,
which, together with Lyon,

463
00:40:38,454 --> 00:40:40,995
It is the most filmed
by the cinematographer.

464
00:40:41,050 --> 00:40:44,512
Lumière's vision is based
in everyday life,

465
00:40:44,637 --> 00:40:47,709
in lives of pleasure and routine.
work during the week,

466
00:40:47,768 --> 00:40:51,973
and Sundays dedicated to leisure, rest,
both at home and outdoors.

467
00:40:52,027 --> 00:40:54,000
Place your camera
in the very center of life.

468
00:40:54,055 --> 00:40:57,459
His cinema is the people,
their gestures, their crowd.

469
00:41:13,797 --> 00:41:17,851
To truly understand cinematography,
we must forget about the most famous movies,

470
00:41:17,904 --> 00:41:19,702
those that eclipse all others,

471
00:41:19,755 --> 00:41:22,240
and they endure, for example,
in the port of Marseille,

472
00:41:22,293 --> 00:41:26,331
to explore one of the
main themes of Lumière's cinema,

473
00:41:26,384 --> 00:41:28,966
the people, the public, the crowd.

474
00:41:29,213 --> 00:41:32,065
At the beginning of the 20th century,
Crowds of people filled the streets,

475
00:41:32,118 --> 00:41:34,434
the boats, the parties and the cafes.

476
00:41:34,487 --> 00:41:37,479
Here, a perfectly composed shot
from a slight high angle,

477
00:41:37,532 --> 00:41:40,083
with two groups of people,
and in the foreground,

478
00:41:40,136 --> 00:41:42,516
fishermen mending their nets.

479
00:41:43,981 --> 00:41:46,639
Thanks to Lumière's mastery of framing,

480
00:41:46,730 --> 00:41:51,563
his films also reveal
the aesthetic potential of cinema.

481
00:42:14,689 --> 00:42:16,784
Lumière also captures rural life.

482
00:42:16,837 --> 00:42:19,269
This film is titled <i>The Wheat Thresher</i>.

483
00:42:19,522 --> 00:42:21,331
We chose it for its beauty,

484
00:42:21,384 --> 00:42:24,146
but also because it shows
than a plane with a rich composition

485
00:42:24,200 --> 00:42:28,175
It is in itself a form of staging,
that forces the viewer to see everything,

486
00:42:28,228 --> 00:42:31,304
and leaving a mark
which is cinema itself.

487
00:43:01,991 --> 00:43:06,280
There were many operators, hence
the constant changes of point of view.

488
00:43:07,458 --> 00:43:09,841
France is also a land of mountains.

489
00:43:09,894 --> 00:43:14,503
Here we are in Chamonix. a street,
donkeys and horses, loose or harnessed.

490
00:43:14,556 --> 00:43:17,269
On the outskirts of town,
an almost artificial backdrop,

491
00:43:17,322 --> 00:43:21,424
like "matte paintings"
which would later be used in cinema.

492
00:43:26,899 --> 00:43:29,714
The result is clear tones and luminosity
deep down,

493
00:43:29,767 --> 00:43:31,793
in the foreground, the darkest elements
sharper,

494
00:43:31,846 --> 00:43:33,984
captured naturally and spontaneously.

495
00:43:34,037 --> 00:43:36,155
Apart from that,
the movie is not in slow motion,

496
00:43:36,208 --> 00:43:39,788
It's just that the streets of Chamonix
They are not very animated.

497
00:43:51,517 --> 00:43:53,118
This is <i>Haymakers</i>.

498
00:43:53,335 --> 00:43:56,439
Once again,
a film of great visual quality,

499
00:43:56,544 --> 00:43:59,946
and with the best camera shots
from the beginnings of cinema.

500
00:44:00,126 --> 00:44:04,324
As we have already said, the camera could not move.
It is clear that the father knows this.

501
00:44:04,377 --> 00:44:09,137
He is so afraid of leaving the frame
who keeps staring at the camera.

502
00:44:11,988 --> 00:44:13,471
Everything in this movie is staged,

503
00:44:13,525 --> 00:44:16,519
as seen in rigid movements
of these farmers,

504
00:44:16,572 --> 00:44:20,552
as if the operator had marked them
the positions on the ground for them.

505
00:44:20,952 --> 00:44:23,607
In fact, the mother asks her children
that they stay together with the brands,

506
00:44:23,672 --> 00:44:25,360
Which they do, more or less.

507
00:44:25,413 --> 00:44:28,684
But in the end,
The younger one doesn't care at all.

508
00:44:48,479 --> 00:44:49,956
Here we are, in Geneva.

509
00:44:50,009 --> 00:44:54,241
The washerwomen, dressed in aprons, are busy
soaking clothes in the tubs.

510
00:44:54,703 --> 00:44:57,530
We see the children come jumping
in the frame,

511
00:44:57,583 --> 00:45:01,164
casting glances at the person
who directs the scene,

512
00:45:01,268 --> 00:45:03,864
who does not hesitate to intervene.

513
00:45:04,687 --> 00:45:07,530
Does this film mark the birth
of advertising?

514
00:45:07,583 --> 00:45:09,536
For the “Sunlight” soap, of course.

515
00:45:09,589 --> 00:45:13,499
It should be noted
which was filmed in May 1896.

516
00:45:13,767 --> 00:45:16,871
It was screened in New York already in June,
there he graduated

517
00:45:16,925 --> 00:45:19,326
<i>«Laundry day in Switzerland»</i>.

518
00:45:53,202 --> 00:45:55,301
<i>«Weeds»</i>, the title of this film,

519
00:45:55,354 --> 00:45:58,721
"my brother filmed it,"
according to Louis Lumière.

520
00:45:58,775 --> 00:46:01,157
In fact, this is the only movie
which is attributed to Auguste,

521
00:46:01,210 --> 00:46:03,134
who at that time was on vacation in La Ciotat.

522
00:46:03,187 --> 00:46:07,406
One might wonder if he was inspired
by a painting by Jean-François Millet,

523
00:46:07,459 --> 00:46:10,951
which has a similar title,
<i>The weed burners</i>.

524
00:46:11,150 --> 00:46:15,316
Auguste was, without a doubt, talented.
It's a shame he didn't make more movies.

525
00:46:28,464 --> 00:46:30,033
Another notable film.

526
00:46:30,086 --> 00:46:32,324
Another film that shows women at work.

527
00:46:32,377 --> 00:46:34,117
They worked a lot.

528
00:46:34,402 --> 00:46:36,021
This film was filmed in Carmaux.

529
00:46:36,075 --> 00:46:40,567
Since 1876, women were prohibited
go down to the mine.

530
00:46:40,756 --> 00:46:42,557
So they stayed on the surface.

531
00:46:42,610 --> 00:46:46,138
And equally arduous tasks,
As this movie shows,

532
00:46:46,191 --> 00:46:49,518
loading coal into wheelbarrows
and wagons.

533
00:47:23,431 --> 00:47:25,478
Continuing with the theme of working women,

534
00:47:25,531 --> 00:47:28,861
here we are in Épinal,
on the banks of the Moselle.

535
00:47:28,914 --> 00:47:32,126
In this magnificent shot,
with the city in the background,

536
00:47:32,179 --> 00:47:36,596
eight washerwomen and four children
They are working on the banks of the river.

537
00:47:36,650 --> 00:47:39,299
The cinematographer filmed the women
a lot.

538
00:47:39,352 --> 00:47:42,319
We see them working,
in the sea, like actresses,

539
00:47:42,424 --> 00:47:46,603
sometimes as silently ironic commentators
about male activities.

540
00:47:46,656 --> 00:47:50,911
Wives as actresses, Lumière women,
always women of the town.

541
00:48:10,415 --> 00:48:15,428
FAR LANDS

542
00:48:28,365 --> 00:48:33,007
In January 1896, Louis Lumière decided
train operators

543
00:48:33,130 --> 00:48:35,099
and send them abroad.

544
00:48:35,587 --> 00:48:36,847
For several years,

545
00:48:36,946 --> 00:48:40,001
the "little planet Lumière"
will be in full swing.

546
00:48:40,054 --> 00:48:42,557
They film cities, streets
and its inhabitants.

547
00:48:42,610 --> 00:48:46,459
One can imagine the shock he felt.
by the western public

548
00:48:46,512 --> 00:48:50,203
when the cinema reveals,
through gestures and movements,

549
00:48:50,309 --> 00:48:52,611
those lands so far away and beautiful.

550
00:48:52,742 --> 00:48:56,818
Louis Lumière asks his operators
bring these images

551
00:48:56,901 --> 00:48:58,756
and show them to the world.

552
00:48:58,809 --> 00:49:01,706
So the views of Naples would be projected
in New York,

553
00:49:01,759 --> 00:49:04,932
and those of Moscow would be projected
in Buenos Aires.

554
00:49:24,790 --> 00:49:28,286
To do this, they would cross the oceans,
like Gabriel Veyre, who is here,

555
00:49:28,339 --> 00:49:32,395
who traveled to Asia aboard the <i>Tonkin</i>,
a Messageries Maritimes liner,

556
00:49:32,449 --> 00:49:34,955
built in the La Ciotat shipyards.

557
00:49:35,284 --> 00:49:36,329
The trip is long.

558
00:49:36,382 --> 00:49:39,413
Boredom takes over everyone,
There are group games and jumping rope.

559
00:49:39,466 --> 00:49:40,903
And, above all, they are making a movie,

560
00:49:40,956 --> 00:49:43,945
like everyone,
judging by their direct looks at the camera,

561
00:49:43,999 --> 00:49:45,901
They seem to be perfectly aware of this.

562
00:49:45,954 --> 00:49:48,899
Especially that man over there,
with his hat and glasses,

563
00:49:48,952 --> 00:49:50,997
who takes care of everything.

564
00:50:21,234 --> 00:50:23,859
Even in Asia,
the army is never far away.

565
00:50:23,912 --> 00:50:27,227
And for good reason:
Saigon, Vietnam, seen here,

566
00:50:27,280 --> 00:50:29,509
It was at that time a French colony.

567
00:50:29,636 --> 00:50:31,218
In this inevitable stop,

568
00:50:31,271 --> 00:50:34,681
the cinematographer shows his armies
in full action.

569
00:50:34,910 --> 00:50:38,087
when it arrives
to what was then Indochina,

570
00:50:38,144 --> 00:50:41,859
more specifically,
the province of Saigon, in Cochinchina,

571
00:50:41,912 --> 00:50:44,506
Gabriel Veyre films a conquered land,

572
00:50:44,559 --> 00:50:47,806
where the occupant stages demonstrations
of power.

573
00:51:09,082 --> 00:51:11,041
Here is another
<i>The workers leave the factory</i>,

574
00:51:11,083 --> 00:51:13,385
this time from the naval arsenal.

575
00:51:13,616 --> 00:51:15,378
Taken from the side rather than the front,

576
00:51:15,431 --> 00:51:19,267
It's not filmed the same way.
than the Lyon-Montplaisir version.

577
00:51:19,320 --> 00:51:22,669
Only men appear,
all of them officials of the French State,

578
00:51:22,722 --> 00:51:27,129
parading with a certain somber air under the
look of Westerners with colonial helmets,

579
00:51:27,182 --> 00:51:29,033
an armed soldier standing guard,

580
00:51:29,086 --> 00:51:31,571
and an operator who,
when turning the crank,

581
00:51:31,625 --> 00:51:33,992
gives this scene all its interest.

582
00:51:52,978 --> 00:51:54,439
We are still in Asia.

583
00:51:54,826 --> 00:51:56,668
Japan, on the other hand,

584
00:51:56,806 --> 00:52:00,449
It is an independent country
and is not subject to any colonial rule.

585
00:52:00,509 --> 00:52:01,992
Upon arriving at the island,

586
00:52:02,051 --> 00:52:05,680
Gabriel Veyre captured everyday life
with obvious affection.

587
00:52:05,740 --> 00:52:09,627
Here we see a farmer working,
movement in the frame,

588
00:52:09,701 --> 00:52:13,063
the paddle wheel
that irrigates the rice field.

589
00:52:13,310 --> 00:52:15,065
Throughout the 20th century,

590
00:52:15,125 --> 00:52:18,683
cinema would be a medium
to describe life on Earth.

591
00:52:18,743 --> 00:52:21,884
With Lumière,
It was there from the beginning.

592
00:52:54,146 --> 00:52:56,256
It is always tempting to evoke Ozu

593
00:52:56,309 --> 00:52:59,466
when filming a Japanese meal
at ground level.

594
00:52:59,609 --> 00:53:02,660
The director of <i>History of Tokyo</i>
was not yet born,

595
00:53:02,713 --> 00:53:06,733
but this family portrait anticipates
the best of his cinema.

596
00:53:07,100 --> 00:53:11,143
When Lumière arrives, Japan
It has just opened to the West.

597
00:53:11,205 --> 00:53:13,711
At the same time picturesque
and perfectly authentic,

598
00:53:13,764 --> 00:53:16,560
this splendid film also shows
that Lumiere

599
00:53:16,612 --> 00:53:20,424
follow the steps of
Western Japanese movement of the time.

600
00:53:20,477 --> 00:53:22,056
With his cinematograph,

601
00:53:22,121 --> 00:53:26,210
operator Constant Giral observes
with the curiosity of an anthropologist,

602
00:53:26,263 --> 00:53:29,819
sharing your sense of wonder
and his desire to reveal it to others.

603
00:53:37,132 --> 00:53:40,680
The previous films had
great visual quality.

604
00:53:40,763 --> 00:53:45,027
This one also had them, but we can't
appreciate it, since the preserved material

605
00:53:45,080 --> 00:53:48,286
it was too damaged
for a satisfactory restoration.

606
00:53:48,551 --> 00:53:50,117
So why show it?

607
00:53:50,361 --> 00:53:54,561
Because, despite the passage of time,
the film is still profoundly beautiful.

608
00:53:54,614 --> 00:53:58,365
This low angle shot of a bridge
in the historic city of Kyoto,

609
00:53:58,418 --> 00:54:03,805
shop signs, women in traditional costumes
and clogs protecting themselves from the sun,

610
00:54:03,903 --> 00:54:05,652
the coming and going of rickshaws,

611
00:54:05,705 --> 00:54:09,567
everything leaves a mark
of what Japan was like in the Meiji era.

612
00:54:36,590 --> 00:54:38,238
We still have a lot to see.

613
00:54:38,291 --> 00:54:40,407
Indifferent to the commotion around him,

614
00:54:40,460 --> 00:54:43,641
nothing distracts Louis Lumière
of the plans he is devising.

615
00:54:43,694 --> 00:54:46,730
Once hired, in January 1896,

616
00:54:46,795 --> 00:54:49,346
its operators quickly departed
and traveled everywhere.

617
00:54:49,400 --> 00:54:53,089
In Asia, as we have just seen,
but also towards the west.

618
00:54:53,142 --> 00:54:56,130
The New World, America, New York.

619
00:54:56,308 --> 00:54:59,062
There too,
the cinematographer will explore

620
00:54:59,115 --> 00:55:02,452
and will examine,
leaving behind films of great value.

621
00:55:22,839 --> 00:55:28,120
«Public transport is the awareness of
peoples” — Orhan Pamuk, Turkish writer.

622
00:55:28,217 --> 00:55:30,354
Here you have another film on the subject,

623
00:55:30,407 --> 00:55:33,227
even more sophisticated
and also more dynamic.

624
00:55:33,280 --> 00:55:37,747
We return to the United States,
in Boston, on Washington Street.

625
00:55:38,034 --> 00:55:41,166
And, once again,
Isn't it beautiful to see?

626
00:55:43,863 --> 00:55:46,430
In cinema, a shot must say it all.

627
00:55:46,483 --> 00:55:50,238
Each scene has its own intrinsic value.
It is not a fragment of something,

628
00:55:50,291 --> 00:55:53,513
nor the beginning of a sequence:
is the sequence.

629
00:55:53,689 --> 00:55:57,745
Once again, this film proves that cinema
invent your own look

630
00:55:57,799 --> 00:56:00,158
and challenges the viewer.

631
00:56:13,324 --> 00:56:16,427
Here the perspective changes
of a wide avenue

632
00:56:16,480 --> 00:56:18,087
at the intersection of two streets,

633
00:56:18,140 --> 00:56:21,550
which allows the cinematographer
capture a different reality.

634
00:56:21,742 --> 00:56:23,402
There is something worth remembering.

635
00:56:23,455 --> 00:56:26,669
Just a few weeks after his arrival in 1896,

636
00:56:26,734 --> 00:56:29,643
the Lumière cinema was expelled
from the United States

637
00:56:29,696 --> 00:56:34,184
by agents of the Pinkerton Agency,
alleging US protectionist laws

638
00:56:34,237 --> 00:56:37,166
invoked by Thomas Edison,
your competitor.

639
00:56:37,424 --> 00:56:40,516
They began a hasty retreat,
departing from Hudson Bay.

640
00:56:40,569 --> 00:56:42,537
But they will return, and someday,

641
00:56:42,590 --> 00:56:45,724
The United States will become
the land of cinema.

642
00:57:12,757 --> 00:57:16,658
The end of the 19th century is a time
in which travel intensifies,

643
00:57:16,711 --> 00:57:20,129
dreams from other places take shape,
and the world seems smaller.

644
00:57:20,525 --> 00:57:21,708
Animated by Lumière,

645
00:57:21,761 --> 00:57:24,589
assuming the roles of diplomats,
journalists and great travelers,

646
00:57:24,642 --> 00:57:27,108
The operators set out to cross the oceans,

647
00:57:27,161 --> 00:57:29,508
filming coasts
and the people on the beaches,

648
00:57:29,561 --> 00:57:31,401
placing their cameras on board ships

649
00:57:31,454 --> 00:57:35,002
to take a closer look,
like here, in the port of Algiers.

650
00:58:02,712 --> 00:58:05,577
The first operators,
the first filmmakers,

651
00:58:05,699 --> 00:58:08,205
They answer the first question about staging

652
00:58:08,335 --> 00:58:11,164
that all the filmmakers who came after them
would be raised later.

653
00:58:11,217 --> 00:58:13,024
Where to place the camera?

654
00:58:59,541 --> 00:59:01,836
We arrived in Algiers by sea.

655
00:59:01,951 --> 00:59:06,939
We set off on the tram, moving away
with a striking reverse tracking shot,

656
00:59:07,126 --> 00:59:10,047
while the<i>“Élégie”, op. 24</i>, by Gabriel Fauré,

657
00:59:10,113 --> 00:59:13,531
envelops the white city
in a persistent melancholy.

658
00:59:36,989 --> 00:59:41,846
THE PROMISE OF THE WORLD

659
00:59:51,222 --> 00:59:55,304
«Cinema is the promise of the world»,
wrote Blaise Cendrars in the 1920s.

660
00:59:55,357 --> 00:59:57,453
That promise is youth.

661
00:59:57,831 --> 01:00:01,751
Lumière filmed the children on numerous occasions,
both to his own and to those of others.

662
01:00:01,804 --> 01:00:03,783
From little angels
who take their first steps,

663
01:00:03,836 --> 01:00:05,606
even the boys who play marbles in the street,

664
01:00:05,659 --> 01:00:10,293
He filmed them all with the same look,
the same curiosity, the same tenderness.

665
01:00:10,346 --> 01:00:13,711
Here, recorded in Lyon,
a dance contest in which, clearly,

666
01:00:13,764 --> 01:00:15,335
everyone does it in their own way,

667
01:00:15,388 --> 01:00:17,262
like this little one
that is there in the middle,

668
01:00:17,316 --> 01:00:20,954
who looks directly into the camera
and becomes the protagonist of the film.

669
01:00:32,214 --> 01:00:34,616
Childish and cautious discussions.

670
01:00:34,893 --> 01:00:37,590
The frame seems taken directly
by Auguste Renoir,

671
01:00:37,643 --> 01:00:40,236
who painted close-ups
of children with curly hair

672
01:00:40,289 --> 01:00:41,892
and faces of little girls.

673
01:00:41,999 --> 01:00:46,213
Here, the little ones with curly hair
They give each other a good beating.

674
01:00:53,722 --> 01:00:55,440
- Give me that!
- No!

675
01:00:55,568 --> 01:00:57,870
- Take!
- Give me that spoon back!

676
01:01:02,086 --> 01:01:04,631
He's crying. Oh, poor thing!

677
01:01:25,557 --> 01:01:29,780
Not much happens in the yard,
apart from a jumping game.

678
01:01:29,833 --> 01:01:34,130
Do I really have to comment on it?
It will bring back memories for all of us.

679
01:01:36,216 --> 01:01:41,370
Ah yes, <i>The demolition of a wall</i> was not
the only film that was projected backwards.

680
01:01:41,424 --> 01:01:46,436
The projectionists soon had fun with
this new trick, to the delight of the public.

681
01:01:47,096 --> 01:01:48,475
Forward.

682
01:01:49,312 --> 01:01:50,762
Backward.

683
01:01:55,253 --> 01:01:56,495
Then forward.

684
01:01:57,760 --> 01:01:59,172
Then back.

685
01:01:59,464 --> 01:02:01,102
Forward again.

686
01:02:03,990 --> 01:02:05,390
And once again.

687
01:02:36,887 --> 01:02:38,041
These young women from the Ashanti tribe

688
01:02:38,329 --> 01:02:42,438
were filmed in Lyon, where
one of those colonial exhibitions

689
01:02:42,497 --> 01:02:44,432
that proliferated throughout Europe,

690
01:02:44,491 --> 01:02:48,875
and that, too often,
They were nothing more than human zoos.

691
01:02:48,933 --> 01:02:51,720
And yet, there is something about this film.

692
01:02:51,779 --> 01:02:56,645
These adolescents express, through
their bodies and their collective energy,

693
01:02:56,704 --> 01:03:01,502
a youth and a nobility that make them
powerful and unforgettable.

694
01:03:30,766 --> 01:03:33,880
A classic example of directions
of Lumière's staging:

695
01:03:33,933 --> 01:03:36,642
«Children,
The film will last less than a minute.

696
01:03:36,700 --> 01:03:40,520
«Get in front of the camera
and show what you know how to do.

697
01:03:40,574 --> 01:03:44,298
It must have been difficult to rehearse,
but the result is extraordinary.

698
01:03:44,351 --> 01:03:48,393
The physical education teacher,
With a jacket and tie, keep an eye on what's happening.

699
01:03:48,451 --> 01:03:51,453
There is not a single child
that he is not busy doing something,

700
01:03:51,518 --> 01:03:53,648
something that has occurred to themselves,
sometimes.

701
01:03:53,701 --> 01:03:56,060
In short, there is a little bit of everything.

702
01:04:22,323 --> 01:04:25,509
The end of the 19th century
It is a time of peace,

703
01:04:25,563 --> 01:04:27,369
even if it wasn't going to last.

704
01:04:27,558 --> 01:04:30,075
The moments of happiness
they are appreciated even more.

705
01:04:30,128 --> 01:04:34,588
This film, shot in the south of France,
It is titled <i>«The bicycle lesson»</i>.

706
01:04:35,331 --> 01:04:37,694
This poem also comes to mind
by Victor Hugo:

707
01:04:37,747 --> 01:04:40,745
«The cannons are still hot;
They have done their duty.

708
01:04:40,798 --> 01:04:43,932
The requested fire
He has kept his promise; it's already done.

709
01:04:43,985 --> 01:04:45,484
The dead are dead.

710
01:05:12,578 --> 01:05:16,566
By portraying childhood life,
Lumière combined themes and gags

711
01:05:16,619 --> 01:05:19,355
as the scenarios
They were taking shape little by little.

712
01:05:20,049 --> 01:05:23,783
He knew how to capture the naturalness
of children, their way of playing,

713
01:05:23,837 --> 01:05:26,184
and the way they look at the camera.

714
01:05:26,674 --> 01:05:30,617
And some themes offer
a retrospective echo of the history of cinema,

715
01:05:30,670 --> 01:05:33,827
like this movie,
a chaotic pillow fight

716
01:05:33,877 --> 01:05:36,049
between girls and boys in a residence,

717
01:05:36,106 --> 01:05:40,248
foreshadowing the scene that Jean Vigo
would roll at <i>Zero in conduct</i>.

718
01:05:56,381 --> 01:06:00,205
Very good, children.
Now you will have to clean all this.

719
01:06:02,470 --> 01:06:07,369
TRAINS AND TRAVEL
BOAT AND SHORES

720
01:06:09,830 --> 01:06:12,492
Here is a film that is both calm
as animated.

721
01:06:12,545 --> 01:06:15,152
The filming is calm,
The square is full of people.

722
01:06:15,205 --> 01:06:19,494
This is the Puerta del Sol in Madrid,
in the spring of 1896.

723
01:06:19,665 --> 01:06:22,825
Look down there, to the left.
An ingenious maneuver,

724
01:06:22,878 --> 01:06:25,831
that allows you to reverse the direction of the car
is reversed.

725
01:06:26,230 --> 01:06:29,733
Apart from that, we see trams on rails,
horse-drawn carriages,

726
01:06:29,787 --> 01:06:33,017
two horse carriages,
and carts pulled by several horses.

727
01:06:33,070 --> 01:06:35,035
And as Bertrand Tavernier pointed out,

728
01:06:35,084 --> 01:06:38,099
the shots from above
create a miraculous impression

729
01:06:38,152 --> 01:06:41,252
that the camera is always
in exactly the right place.

730
01:06:59,296 --> 01:07:03,154
Another camera position,
another variant of trains and trams,

731
01:07:03,212 --> 01:07:05,443
in Toulouse, on Alsace-Lorraine street.

732
01:07:05,496 --> 01:07:08,699
We are on the curve of a turn, which
It gives the film a sense of movement.

733
01:07:08,752 --> 01:07:12,426
With perfect execution, the driver
goes down and then goes up again.

734
01:07:12,479 --> 01:07:14,343
For reasons only he knows.

735
01:07:21,858 --> 01:07:25,020
Then a man with a bowler hat appears,
stands in front of the camera,

736
01:07:25,073 --> 01:07:28,670
and wait for a woman with whom
maintains a mysterious conversation.

737
01:07:29,390 --> 01:07:33,068
Apart from that, nothing,
It's just a magnificent photo.

738
01:07:50,962 --> 01:07:56,128
Although the film itself has no sound,
The projector does make a faint sound.

739
01:07:56,529 --> 01:07:59,380
However,
silence is part of the show,

740
01:07:59,433 --> 01:08:01,935
everyone pays attention
on the screen.

741
01:08:01,989 --> 01:08:04,666
Americans would not speak
"silent cinema"

742
01:08:04,724 --> 01:08:08,010
but "silent film", "silent film".

743
01:08:08,501 --> 01:08:11,462
However, sometimes silent films
were projected in noisy environments,

744
01:08:11,519 --> 01:08:14,830
because the rooms themselves
They were not always silent.

745
01:08:44,465 --> 01:08:47,475
<i>The arrival of a train at La Ciotat station</i>
is the best known,

746
01:08:47,528 --> 01:08:49,949
but there were many scenes
how are you,

747
01:08:50,006 --> 01:08:53,469
recorded from platforms in France,
in the United States and elsewhere.

748
01:08:53,522 --> 01:08:56,609
Every time, the angle is different,
the rhythm too,

749
01:08:56,663 --> 01:08:59,120
but the feeling of emotion is the same.

750
01:09:24,252 --> 01:09:27,101
Here is an admirable film
for its fluidity,

751
01:09:27,240 --> 01:09:30,595
that starts with a false start,
when the crank stops,

752
01:09:30,648 --> 01:09:34,399
the movie cuts off and then starts again,
just like the movie itself.

753
01:09:34,669 --> 01:09:36,703
here,
the camera focuses on the port of Toulon,

754
01:09:36,756 --> 01:09:40,759
where the crowd waits for the president
of the Republic, Émile Loubet.

755
01:09:42,930 --> 01:09:47,407
What we call today "follow-up shot" was,
at that time, a "panorama."

756
01:09:47,460 --> 01:09:51,477
These sumptuous camera movements
They are the hallmark of Lumière's cinema.

757
01:09:51,530 --> 01:09:54,801
He and his operators
They specialized in them.

758
01:09:54,882 --> 01:09:56,739
We're about to see some.

759
01:10:11,690 --> 01:10:16,206
It may not be the most famous panorama,
taken in Venice by Alexandre Promio,

760
01:10:16,259 --> 01:10:18,127
but without a doubt it is the most beautiful.

761
01:10:18,180 --> 01:10:20,653
So we tilted our heads and watched.

762
01:10:58,213 --> 01:11:02,041
With its arabesques, its depth of field
and its masterful framing,

763
01:11:02,094 --> 01:11:04,963
Lumière's films reflect a vision
of the world

764
01:11:05,016 --> 01:11:08,002
inseparable
of its mode of representation.

765
01:11:08,481 --> 01:11:13,418
This mode is totally characteristic of him, and poses
issues of style and visual staging.

766
01:11:13,471 --> 01:11:16,079
How can you captivate using only reality?

767
01:11:16,132 --> 01:11:18,952
How to maintain interest
without trying to impress

768
01:11:19,005 --> 01:11:22,035
to the viewer, to the sector
and, later, to the market?

769
01:11:22,089 --> 01:11:26,492
Impress: an obligation that cinema
would come to impose itself.

770
01:12:17,652 --> 01:12:19,797
Like photographers who venture outdoors,

771
01:12:19,850 --> 01:12:23,849
like the painters who leave the palaces behind
to feel the sun and the wind,

772
01:12:23,902 --> 01:12:26,506
Lumière would merge the sky and the sea,

773
01:12:26,572 --> 01:12:31,081
fragile ships sailing through the waves,
and the launching of ships in ports.

774
01:12:31,134 --> 01:12:35,797
I contemplated the world in motion,
at full speed, with tenderness.

775
01:14:00,178 --> 01:14:03,156
ACTORS!
During the filming of <i>El irrigador regado</i>,

776
01:14:03,209 --> 01:14:06,037
Lumière intended humor to be part
of the game, in front of,

777
01:14:06,087 --> 01:14:07,494
and next to the camera.

778
01:14:08,113 --> 01:14:12,141
In this way, cinema would become
a complete representation.

779
01:14:18,491 --> 01:14:22,622
This could be considered a kind of prelude
from the martial arts movie.

780
01:14:22,675 --> 01:14:27,134
But this precursor of Bruce Lee
He is a kabuki theater actor

781
01:14:27,256 --> 01:14:29,229
that acts,
before the camera of Constant Girel,

782
01:14:29,282 --> 01:14:31,118
a synthesis of combat techniques.

783
01:14:31,171 --> 01:14:33,165
The proof? You just have to look.

784
01:14:51,867 --> 01:14:54,159
Oops, sorry. It's not over yet.

785
01:14:54,397 --> 01:14:56,064
Return to your position.

786
01:14:56,331 --> 01:14:59,001
The film is <i>almost</i> perfectly staged.

787
01:15:25,210 --> 01:15:27,407
Lumière, or the art of the remake.

788
01:15:27,460 --> 01:15:32,100
This scene had already been filmed
year before by Gabriel Veyre in Mexico.

789
01:15:32,153 --> 01:15:34,418
Here, the scene takes place in Lyon,

790
01:15:34,471 --> 01:15:38,083
and pits two men against each other
in a pistol duel.

791
01:15:38,622 --> 01:15:42,038
Everything seems real in this scene
designed to scare the public,

792
01:15:42,091 --> 01:15:44,012
even gunpowder explosions.

793
01:15:44,065 --> 01:15:48,003
On the other hand, the victim
She's not very good at playing dead.

794
01:15:48,290 --> 01:15:50,059
It is clear that he is not completely dead,

795
01:15:50,113 --> 01:15:52,713
judging by the way
extend your right arm

796
01:15:52,766 --> 01:15:55,003
to make it easier to carry.

797
01:16:05,853 --> 01:16:11,013
They say that a good fiction film is
also a documentary about its own staging.

798
01:16:11,267 --> 01:16:13,849
So, in this movie, number 889,

799
01:16:13,902 --> 01:16:17,064
the plot is integrated into
the script itself.

800
01:16:17,187 --> 01:16:19,529
Everything is meticulous and ingenious,

801
01:16:19,582 --> 01:16:23,545
and transparent to the public,
what catches them.

802
01:16:23,780 --> 01:16:25,384
This chapter is titled <i>The Actor</i>,

803
01:16:25,438 --> 01:16:28,409
but it could well be called
"The birth of the show."

804
01:16:28,463 --> 01:16:32,517
It could also be called "Playing dumb"
in front of the camera.

805
01:16:57,965 --> 01:17:00,797
HAVE PITY ON A POOR CRIMINAL

806
01:17:05,126 --> 01:17:09,016
<i>The fake cripple</i> was filmed
right next to the Lumière factory.

807
01:17:10,204 --> 01:17:13,898
Take advantage of all cinematographic resources
then had at his disposal.

808
01:17:13,951 --> 01:17:17,898
The use of framing, the general shot,
depth of field,

809
01:17:17,997 --> 01:17:19,985
and a precisely calibrated staging.

810
01:17:20,039 --> 01:17:23,757
Although, quite absurdly,
<i>The False Cripple</i>, the title of the film,

811
01:17:23,823 --> 01:17:26,459
reveals what is going to happen.

812
01:18:18,046 --> 01:18:20,045
Beyond the comic aspect,

813
01:18:20,137 --> 01:18:23,245
It's the staging and the rhythm.
what really impresses.

814
01:18:26,195 --> 01:18:29,131
Exclamations, screams, movement.

815
01:18:29,451 --> 01:18:33,641
Like in this movie, where the actors laugh
with enthusiasm for his own jokes,

816
01:18:33,694 --> 01:18:37,291
an enthusiasm in which a dog
is clearly eager to participate.

817
01:18:48,800 --> 01:18:51,714
Foottit and Chocolat,
an Englishman and a Cuban,

818
01:18:51,767 --> 01:18:54,399
They were music hall artists,
circus clowns,

819
01:18:54,452 --> 01:18:57,308
whose characters
They achieved enormous popularity.

820
01:18:57,602 --> 01:19:00,133
The expression "être chocolat"
It supposedly comes from here,

821
01:19:00,187 --> 01:19:02,001
the idea of being fooled.

822
01:19:02,054 --> 01:19:06,237
Six films have been dedicated to them.
This is the third, <i>The rocking chair</i>.

823
01:19:43,238 --> 01:19:44,737
Here come the Kremos again.

824
01:19:44,790 --> 01:19:46,981
We were not going to deprive ourselves
that pleasure.

825
01:19:47,034 --> 01:19:49,508
By "family" we mean the father,

826
01:19:49,562 --> 01:19:53,598
and the children, whose elastic bodies
they make the most of it.

827
01:19:53,857 --> 01:19:56,652
This second film is titled
<i>Double somersault</i>,

828
01:19:56,705 --> 01:19:58,934
and it is much more sophisticated.

829
01:20:30,348 --> 01:20:33,692
Yes, it's true,
Lumière even invented cat videos.

830
01:20:36,396 --> 01:20:38,054
When he starts making his movies,

831
01:20:38,107 --> 01:20:40,906
Lumière does not have many precedents
to be inspired by.

832
01:20:40,959 --> 01:20:45,097
So he goes out in search of topics,
filming everything that comes his way.

833
01:20:45,150 --> 01:20:46,541
A cat, for example.

834
01:20:46,978 --> 01:20:50,697
A cat having a better time
than the viewer who observes it.

835
01:21:13,400 --> 01:21:16,468
A cat playing,
and a cat that stumbles.

836
01:21:25,717 --> 01:21:28,625
In the Lumière catalogue,
this is also found.

837
01:21:28,678 --> 01:21:31,991
theatrical recreations,
dramatic or comic scenes,

838
01:21:32,044 --> 01:21:35,969
based on history
to capture the interest of the public.

839
01:21:36,345 --> 01:21:41,048
This is titled
<i>Nero tests poison on his slaves</i>,

840
01:21:41,135 --> 01:21:43,568
and without a doubt it is quite theatrical.

841
01:21:46,077 --> 01:21:48,160
"Bring me another one," says Nero.

842
01:21:50,132 --> 01:21:53,248
The wait was worth it,
He is a born actor.

843
01:21:54,818 --> 01:21:58,374
He takes it easy,
but he pretends to be dead wonderfully.

844
01:22:00,401 --> 01:22:03,753
Well, maybe he's not so good at dying.
after all.

845
01:22:24,531 --> 01:22:27,060
This film is numbered 2007.

846
01:22:27,182 --> 01:22:30,478
It is, therefore, a late film, shot in 1902,

847
01:22:30,584 --> 01:22:33,857
on a set built expressly for it
at the Lumière factory, in Montplaisir.

848
01:22:33,910 --> 01:22:36,256
Cinema is already changing.

849
01:22:36,434 --> 01:22:38,808
Mélies,
the young friend of Antoine Lumière,

850
01:22:38,862 --> 01:22:41,217
has burst onto the scene
with a world of its own.

851
01:22:41,270 --> 01:22:42,492
Movies are getting longer.

852
01:22:42,545 --> 01:22:46,516
Cinema becomes comedy, theater,
magic and phantasmagoria.

853
01:22:46,844 --> 01:22:50,501
Now you know how to mount images,
Create special effects and color the movie.

854
01:22:50,554 --> 01:22:53,997
Like in this movie,
titled <i>Fantastic food</i>.

855
01:22:54,192 --> 01:22:58,993
And it is signed in the lower right corner,
As you may have observed: Lumière.

856
01:24:20,166 --> 01:24:24,360
But this type of cinema, as we get closer
at the end of the Lyon adventure,

857
01:24:24,414 --> 01:24:27,498
a cinema influenced by urban cabaret

858
01:24:27,604 --> 01:24:30,256
and by the masters of illusion,

859
01:24:30,387 --> 01:24:34,154
this type of cinema is not
what defines Lumière's cinema.

860
01:24:36,959 --> 01:24:42,868
THE INVENTIONS OF CINEMA
(THE BEAUTY OF THE CINEMATOGRAPHER)

861
01:24:50,542 --> 01:24:53,755
The Lumière cinema does not use tricks
nor coloring.

862
01:24:54,267 --> 01:24:55,914
There are no free effects,

863
01:24:55,967 --> 01:24:59,115
and never separate
of the cinematographic act.

864
01:24:59,168 --> 01:25:02,060
because it owes its existence
exclusively to this camera,

865
01:25:02,114 --> 01:25:04,287
whose presence is evident.

866
01:25:05,323 --> 01:25:08,964
Lumière and its operators
are faced with staging issues,

867
01:25:09,017 --> 01:25:12,039
the same questions that would be asked by thousands of
filmmakers would come up after them.

868
01:25:12,092 --> 01:25:16,323
The role of the camera, the power
of a subject, the idea of movement.

869
01:25:16,654 --> 01:25:20,365
Notice,
in this film shot in Naples in 1896,

870
01:25:20,633 --> 01:25:23,714
to these men on the shore
gathering their fishing nets,

871
01:25:23,767 --> 01:25:27,127
drawing two horizontal lines
that frame the shot.

872
01:25:27,526 --> 01:25:32,037
We are already in the neorealist world of
<i>La terra trema</i> by Luchino Visconti.

873
01:25:42,560 --> 01:25:44,892
The beauty of cinematography,
we said.

874
01:25:44,945 --> 01:25:50,205
Here, at the foot of the Champs Elysées,
in a Paris that could be described as Proustian,

875
01:25:50,258 --> 01:25:53,953
a woman Is it the mother,
the aunt, the nanny?

876
01:25:54,068 --> 01:25:56,732
A woman watching the children while they play.

877
01:25:56,785 --> 01:25:58,718
Like the painter Édouard Manet,

878
01:25:58,771 --> 01:26:01,754
Lumière's imagination,
his vision of the world,

879
01:26:01,807 --> 01:26:05,770
speaks of majesty
of a quiet life, of a happy life.

880
01:26:06,900 --> 01:26:11,110
A way to capture and show everyday life
at the beginning of the century,

881
01:26:11,164 --> 01:26:15,802
of which he is at the same time a faithful witness
and its definitive chronicler.

882
01:26:33,007 --> 01:26:36,239
Jean-Luc Godard said that
if you want to change the grammar,

883
01:26:36,295 --> 01:26:38,931
You have to look at the illiterate.

884
01:26:39,244 --> 01:26:41,845
Lumière was the first cinema illiterate.

885
01:26:41,898 --> 01:26:44,562
He had to invent his grammar,
your own grammar,

886
01:26:44,615 --> 01:26:46,950
and his tongue, his tongue.

887
01:26:47,292 --> 01:26:49,623
Moves directly
of a technical stutter

888
01:26:49,676 --> 01:26:51,316
to the mastery of an art,

889
01:26:51,369 --> 01:26:54,462
the one who prints a style
uniquely own.

890
01:26:55,119 --> 01:26:57,928
Here in the crowd
that leaves service,

891
01:26:58,018 --> 01:27:02,518
we perceive the patience of the plane
that sharpens our gaze.

892
01:27:02,800 --> 01:27:04,959
The camera is placed
in front of the big doors

893
01:27:05,017 --> 01:27:07,254
of the Cologne Cathedral, in Germany.

894
01:27:08,003 --> 01:27:12,471
Leave the church, leave the factory.
At that time, it was the same.

895
01:27:28,289 --> 01:27:31,548
Cinema began with innocence and candor.

896
01:27:31,856 --> 01:27:34,441
The narrative complexity would come later.

897
01:27:34,494 --> 01:27:39,253
Lumière is inspired by Auguste Renoir
and would inspire Jean Renoir, his son,

898
01:27:39,306 --> 01:27:41,324
marking the beginning of the 20th century.

899
01:27:41,435 --> 01:27:44,667
He has been described as an impressionist,
in reference to a pictorial movement

900
01:27:44,724 --> 01:27:46,775
that maybe he didn't even know.

901
01:27:47,537 --> 01:27:51,069
He placed his camera in the fields,
next to the rivers, in the streets.

902
01:27:51,122 --> 01:27:54,347
He practiced a cinema that transmits the truth
through beauty,

903
01:27:54,400 --> 01:27:56,141
and beauty through truth.

904
01:27:56,198 --> 01:27:59,758
Like these untamed looks of children
that parade before the camera

905
01:27:59,812 --> 01:28:01,569
on a street in Stuttgart.

906
01:28:15,731 --> 01:28:18,677
Cinema is writing with a camera.

907
01:28:18,734 --> 01:28:21,066
Small and easy to handle,
as the cameras would later be,

908
01:28:21,119 --> 01:28:24,596
motionless and delicate,
as was the Lumière cinematography.

909
01:28:24,649 --> 01:28:27,256
Here, the camera, located at a certain distance,

910
01:28:27,309 --> 01:28:30,937
define the frame
that frames an extraordinary scene.

911
01:28:30,990 --> 01:28:34,896
A horse at full gallop runs in circles,
held by a rope,

912
01:28:34,969 --> 01:28:38,224
while several riders ride it in turns.

913
01:28:38,443 --> 01:28:40,653
In front of the majestic Prague Castle,

914
01:28:40,706 --> 01:28:44,160
that serves as a backdrop
of this admirably composed image,

915
01:28:44,214 --> 01:28:47,087
the horse even gives them a last bow,

916
01:28:47,168 --> 01:28:50,667
as if to put the finishing touch
an aesthetically perfect film.

917
01:28:57,179 --> 01:28:59,410
We've seen it before.

918
01:28:59,464 --> 01:29:01,974
This owes so much to photography

919
01:29:02,104 --> 01:29:05,835
that in the unprecedented way
to film troops on horseback.

920
01:29:05,889 --> 01:29:08,538
The troops are approaching from a distance,
filling the frame.

921
01:29:08,591 --> 01:29:10,564
The value of the film
resides in its last seconds.

922
01:29:10,617 --> 01:29:13,245
A magnificent ending to that shot,

923
01:29:13,309 --> 01:29:17,412
just as the riders approach
to the maximum of the camera,

924
01:29:17,517 --> 01:29:21,325
in an organized dispersion,
full of dust and movement.

925
01:29:21,650 --> 01:29:24,208
Pure cinema. Nothing but cinema.

926
01:29:24,652 --> 01:29:27,346
And the movie comes to an end.
Everything disappears,

927
01:29:27,399 --> 01:29:30,678
the scene is over,
The camera has fulfilled its purpose.

928
01:29:35,572 --> 01:29:37,240
Here we are back in Chamonix,

929
01:29:37,293 --> 01:29:39,678
in the facilities of
Paris-Lyon-Mediterranean Railway,

930
01:29:39,731 --> 01:29:42,514
while a car with tourists arrives.

931
01:29:42,849 --> 01:29:46,543
Here, one thing is evident:
Cinema captures attention.

932
01:29:46,754 --> 01:29:49,256
A large crowd gathers
to witness the event.

933
01:29:49,309 --> 01:29:53,149
The value of this film lies
in its pictorial perfection, its light,

934
01:29:53,202 --> 01:29:56,572
width and depth of field
that offer us so much to see.

935
01:29:56,625 --> 01:29:59,438
Look at those horses,
at the end of the street, on the right.

936
01:29:59,491 --> 01:30:03,379
The travelers getting off the stagecoach,
the majesty of the diligence.

937
01:30:03,432 --> 01:30:06,280
The value of this movie
lies in its beauty.

938
01:30:24,298 --> 01:30:26,479
The previous movie
with his way of traveling,

939
01:30:26,532 --> 01:30:29,405
It's almost ahead of <i>The Stagecoach</i>.

940
01:30:29,957 --> 01:30:35,314
If we stay with John Ford, this remembers
a scene from <i>«Desert Centaurs»</i>.

941
01:30:35,387 --> 01:30:39,820
The characters dance together, following
the same pattern as these cyclists.

942
01:30:40,000 --> 01:30:43,720
A choreography that Maurice Pialat
reused in <i>Van Gogh</i>.

943
01:30:43,917 --> 01:30:48,099
After the arabesques of the trams,
Those of the Spanish army arrived.

944
01:31:17,682 --> 01:31:20,232
If someone had invented cinema before him,

945
01:31:20,285 --> 01:31:22,823
Lumière would have been, even so, a filmmaker,

946
01:31:22,876 --> 01:31:24,606
and one of the most important.

947
01:31:24,659 --> 01:31:26,817
His style and convictions have endured.

948
01:31:26,870 --> 01:31:29,113
They opened the way to a new art,

949
01:31:29,166 --> 01:31:32,787
whose splendid future
They already foreshadow their own films.

950
01:31:33,257 --> 01:31:35,863
Well, what the Lumière cinematographer
paves the way for

951
01:31:35,920 --> 01:31:39,250
It is the arrival of Murnau, of Bresson,
and Kiarostami.

952
01:31:39,303 --> 01:31:41,788
From Chaplin, Bergman and Ozu.

953
01:31:42,495 --> 01:31:46,425
It is a cinema of long shots
and simplicity.

954
01:32:11,083 --> 01:32:12,778
Lumière is everyday life.

955
01:32:12,831 --> 01:32:15,419
Cinema is a popular art.

956
01:32:15,745 --> 01:32:19,796
Today, the first images take us
to question what cinema has become,

957
01:32:19,849 --> 01:32:24,024
and stalk contemporary modernity
through the territory that has been appropriated,

958
01:32:24,077 --> 01:32:28,357
the trace he has left, whose strength
and beauty deserve to be reaffirmed.

959
01:32:59,006 --> 01:33:02,635
One day, the filmmakers
They would film planes in the sky.

960
01:33:02,710 --> 01:33:05,689
Lumière, on the other hand,
filmed the waves of the sea.

961
01:33:06,351 --> 01:33:10,379
Through your eternal present,
This is the modern take par excellence,

962
01:33:10,432 --> 01:33:13,977
the Atlantic,
near the Rock of the Virgin, in Biarritz.

963
01:33:14,030 --> 01:33:18,435
Framing, contemplation, amazement.
Even boredom, if it lasts.

964
01:33:18,489 --> 01:33:22,362
And later, some filmmakers
They wouldn't hesitate to do just that.

965
01:33:22,415 --> 01:33:23,460
In your hands,

966
01:33:23,514 --> 01:33:27,073
and in those of its operators,
whose imitation, measured and full of talent,

967
01:33:27,126 --> 01:33:29,667
demonstrates consistency
of Louis' teaching,

968
01:33:29,720 --> 01:33:33,418
cinema goes further
the mere reproduction on the screen

969
01:33:33,552 --> 01:33:37,638
of emotions already experienced in the
theaters on the grand boulevards of Paris.

970
01:33:37,691 --> 01:33:40,894
Invent a new way of seeing,
a new point of view.

971
01:33:40,947 --> 01:33:44,160
you can feel
in this absolutely hypnotic scene.

972
01:33:48,079 --> 01:33:52,421
We conclude by discovering two films
that had never been shown in theaters before.

973
01:33:52,474 --> 01:33:56,068
In April 1900,
at the Universal Exhibition in Paris,

974
01:33:56,174 --> 01:33:59,775
everyone exhibited their inventions,
and Lumière presented his.

975
01:33:59,828 --> 01:34:04,979
A 75 mm wide strip of film was projected
on a giant screen.

976
01:34:05,082 --> 01:34:08,515
It was not the 70 mm format that would be invented
50 years later,

977
01:34:08,568 --> 01:34:11,319
but 75 mm, and in 1900.

978
01:34:11,481 --> 01:34:15,375
An image of extraordinary definition
opens a wide field,

979
01:34:15,428 --> 01:34:17,804
that allows us to cover the world.

980
01:34:19,352 --> 01:34:22,659
Lumière himself records the inauguration
of the Water Tower Pavilion.

981
01:34:22,713 --> 01:34:26,121
This shot, this monument,
this procession of people

982
01:34:26,174 --> 01:34:29,083
already anticipates the visual ambition

983
01:34:29,214 --> 01:34:31,829
which Griffith and Gance would soon adopt,

984
01:34:31,882 --> 01:34:34,788
Eisenstein, Fritz Lang and Murnau.

985
01:34:35,525 --> 01:34:40,175
This 75 mm process raised important
technical problems to Louis Lumière.

986
01:34:40,394 --> 01:34:43,660
Couldn't resist showing it off
nor to roll with him,

987
01:34:43,714 --> 01:34:46,065
but he never projected it.

988
01:34:46,264 --> 01:34:49,037
We just can't resist
to show it to you,

989
01:34:49,206 --> 01:34:53,227
because in 2025,
Digital technology will make it possible.

990
01:34:54,016 --> 01:34:55,563
These movies exist again.

991
01:34:55,616 --> 01:34:58,692
There are about ten.
Here goes the second one.

992
01:34:59,043 --> 01:35:02,952
The original idea remains the same:
write with the moving image,

993
01:35:03,033 --> 01:35:07,550
create movement within movement
when filming an unusual setting.

994
01:35:07,842 --> 01:35:08,945
In 1900,

995
01:35:08,998 --> 01:35:12,022
his successors—Méliès, Gaumont, Pathé—
They had already appeared.

996
01:35:12,075 --> 01:35:13,824
Lumière knows that cinema

997
01:35:13,955 --> 01:35:16,369
heading towards the future
that no longer belongs to him,

998
01:35:16,422 --> 01:35:18,939
like a conveyor belt that has no end.

999
01:35:18,992 --> 01:35:24,217
This panorama, taken from a
mobile platform of surprising modernity,

1000
01:35:24,355 --> 01:35:27,065
It is probably the last shot of Louis Lumière.

1001
01:35:37,570 --> 01:35:42,509
«DEATH WILL NO LONGER BE ABSOLUTE»

1002
01:35:58,530 --> 01:36:01,855
Lumière's last shot is not a farewell
to the cinema,

1003
01:36:01,908 --> 01:36:06,921
Well, on December 30, 1895,
two days after the inaugural screening,

1004
01:36:07,027 --> 01:36:08,980
The first reviewer wrote:

1005
01:36:09,729 --> 01:36:12,279
«When these devices
are made available to the public,

1006
01:36:12,332 --> 01:36:15,438
when everyone can photograph
to your loved ones,

1007
01:36:15,491 --> 01:36:19,315
their movements, their actions,
his usual gestures,

1008
01:36:19,421 --> 01:36:23,945
with the words about to leave his lips,
"Death will no longer be absolute."

1009
01:36:38,295 --> 01:36:42,942
With Lumière, the cinematographer
he would invent and reinvent himself,

1010
01:36:42,995 --> 01:36:46,196
endlessly exploring its own territory,

1011
01:36:46,351 --> 01:36:51,282
as if to show future filmmakers
that should never stop enriching it.

1012
01:36:52,388 --> 01:36:56,200
In 2025, we no longer live
these scenes like people did before.

1013
01:36:56,253 --> 01:36:58,584
Cinema has changed.
Everything has changed.

1014
01:36:58,638 --> 01:37:02,897
But not the Lumière films, which do not
They belong to no so-called "primitive" art.

1015
01:37:02,950 --> 01:37:05,477
They are both classic and modern.

1016
01:37:05,530 --> 01:37:09,882
And today, now that cinema returns
finds its place in the world of images,

1017
01:37:09,935 --> 01:37:12,899
the legacy of the Lumières
takes on renewed importance.

1018
01:37:12,952 --> 01:37:17,834
By its own nature and dignity,
Cinema is an ethical art.

1019
01:37:17,990 --> 01:37:22,018
It will also serve as a call for calm,
an instrument of peace.

1020
01:37:40,515 --> 01:37:42,679
The "lumière" is an authorial act.

1021
01:37:42,807 --> 01:37:45,244
Search, doubt, marvel.

1022
01:37:45,493 --> 01:37:46,838
An act of authorship.

1023
01:37:47,228 --> 01:37:50,080
There is always movement,
although sometimes it is invisible,

1024
01:37:50,133 --> 01:37:53,425
to the point that, like here,
acquires a lightness,

1025
01:37:53,478 --> 01:37:56,358
forcing the eye to wait,
and then understand.

1026
01:37:56,603 --> 01:37:58,258
The spectator's position

1027
01:37:58,312 --> 01:38:00,781
makes sense
to what is being contemplated.

1028
01:38:00,834 --> 01:38:04,603
Lumière and cinema definitely belong
to the big screen,

1029
01:38:04,656 --> 01:38:09,042
the only means capable of conferring
necessary power and clarity of vision.

1030
01:38:29,101 --> 01:38:33,339
Thomas Edison and the other inventors
They think in terms of a format.

1031
01:38:33,392 --> 01:38:36,845
Lumière, for his part, discovers
not just a form, but something more than that,

1032
01:38:36,898 --> 01:38:40,219
a poetic language
and a shared social practice.

1033
01:38:40,496 --> 01:38:46,135
Beyond his legend, Lumière's gesture
It is both a beginning and a culmination.

1034
01:38:46,996 --> 01:38:49,616
Contrast him with Méliès
It's misleading.

1035
01:38:49,669 --> 01:38:52,105
Méliès reinvents the world
through the illusion,

1036
01:38:52,158 --> 01:38:54,308
Lumière captures reality as it is.

1037
01:38:54,362 --> 01:38:58,324
One foreshadows Fellini,
the other overtakes Rossellini.

1038
01:38:58,421 --> 01:39:02,763
The first one leads to Hollywood,
the second, to the French New Wave.

1039
01:39:02,816 --> 01:39:05,883
Lumière shows his viewers
their own lives,

1040
01:39:05,989 --> 01:39:10,074
and sends its operators
to film lives different from their own.

1041
01:39:10,270 --> 01:39:13,265
In short,
That's the only thing that cinema has always done.

1042
01:39:13,432 --> 01:39:16,620
It tells me who I am,
and who are the others.

1043
01:39:22,258 --> 01:39:24,556
It's time to look at Lumière again.

1044
01:39:24,609 --> 01:39:26,273
To see these scenes from the cinema

1045
01:39:26,326 --> 01:39:30,851
is to clear our gaze from everything
what has shaped them until now,

1046
01:39:31,032 --> 01:39:34,194
to return to the source,
to the original intention

1047
01:39:34,247 --> 01:39:38,356
of this invented language,
defined by its 50 second shape.

1048
01:39:46,762 --> 01:39:49,129
Cinema dominated the 20th century.

1049
01:39:49,189 --> 01:39:53,648
What will become of movies, cinemas and viewers
When will its second centenary be fulfilled?

1050
01:39:54,091 --> 01:39:56,898
To honor his memory
It means taking care of her.

1051
01:39:56,951 --> 01:40:00,384
Safeguard your future
It is taking care of ourselves.

1052
01:40:15,068 --> 01:40:17,459
A FILM COMPOSED OF 120 SCENES

1053
01:40:17,513 --> 01:40:19,660
SHOT BETWEEN 1895 AND 1905

1054
01:40:19,714 --> 01:40:22,424
BY LOUIS LUMIÈRE AND ITS OPERATORS

1055
01:40:44,415 --> 01:40:49,245
FIRST FILM STREET, LYON, FRANCE
TODAY

1056
01:40:49,826 --> 01:40:53,114
FRANCIS FORD COPPOLA REMAKE
(WITH ROMAN COPPOLA)

1057
01:40:53,167 --> 01:40:55,205
«LEAVING THE FACTORY»

1058
01:40:59,405 --> 01:41:04,296
WITH MY OLD MANUAL CAMERA
«35 MM PATHÉ»

1059
01:42:30,499 --> 01:42:34,152
IN MEMORY OF BERTRAND TAVERNIER