In the minds of some, essentially the only filmmaker of the 1880s is Eadweard Muybridge. While that’s not too far from the truth, there were others. This is a look at the people who put life to screen in this early decade of cinema. Insignificant as they may feel due to the 1890s improving on them, these function as novel documents of the past.
The 1882 Transit of Venus (1882) – The Only Film By David Peck Todd
Who knew there was a sequel to the 1874 transit of Venus film? This is reminiscent of a 1970s Sci-Fi flick that has a very sterile and clinical look to the sets. Thus, it has less realism than the previous film, but is no less interesting as a look at what humans found worth recording. At least the print I viewed was slower than the last, which if intended by Todd suggests an attempt to be methodical, like this was worth seeing in more detail.
Louis Le Prince Available Films (1887-1888)
To say the least, Louis Le Prince has an interesting story. Not only is he sometimes called the “Father of Cinematography”, not only does watching his entire surviving works take about ten seconds, but he mysteriously went missing, leading to ample speculation about what happened to him. He is a victim of lost media, with only four of his works being available; Man Walking Around a Corner (1887), Accordion Player, Roundhay Garden Scene, and Traffic Crossing Leeds Bridge (all 1888).
There is the sense of progressively learning the craft along the way. Corner is a relatively static shot that isn’t even parallel to the ground. Accordion features perhaps a type of dance, with the subject smiling and seeming to enjoy himself, capturing an emotion, unlike in the first. A set of stairs and an open door give a depth to the scene, like this is a real space. The first film fails to take such an opportunity as we don’t see behind the corner the man walks by. Roundhay is perhaps the most famous film here, considered a classic of the 80’s. It benefits from featuring a wider shot. The further lack of emotional depth doesn’t make it as interesting as the second. The people depicted don’t feel natural, feeling like actors. Overall, it’s pretty dank. Bridge doesn’t even attempt to capture people per say, appearing to be taken from a roof looking down at traffic. The image captured is more dynamic and is relatively striking compared to the other three. I wonder if it’s a coincidence that each of these four films captures a wider and wider space.
It’d be interesting to see what would’ve been next for Le Prince, as he was improving his craft as he went. The frame composition noticeably was improving throughout. They can feel like lesser versions of some 1890s films, Sallie Gardner at a Gallop and Arrival of a Train at La Ciotat as examples, though the former is from the 70’s. A Letterboxd review of Accordion Player is certainly more worthwhile than the film itself, not that the movie should be faulted for lacking a narrative.
Ottomar Anschütz Available Films (1888, possibly before and/or after)
Of the four filmmakers here, this was the one I had the hardest time finding information on. It appears Anschütz may have done an exceptional number of films, though various sites only catalog Horse and Rider Jumping Over an Obstacle. A video on YouTube appears to feature that and a few more of Anschütz’ works. While he’s sometimes attributed with being the first to film images at a decent quality, these films hardly distinguish themselves from Muybridge. While Muybridge seemed to attempt to capture realism, scenes like the horse riding ones feel off. The riders feel like sculptures based on how stiff they are. The white background also makes them look a little surreal. The actions going on aren’t interesting enough to match that and the overall experience can be a little jarring.
William Friese-Greene Available Films (1889-1890)
Friese-Greene’s work sadly hasn’t survived much, either. It seems Leisurely Pedestrians, Open Topped Buses and Hansom Cabs with Trotting Horses (1889) might be the only complete one. The camera is too high up, which makes it look somewhat sloppy, as if it was supposed to be lower down. At least it doesn’t feel stagey, unlike the similar Roundhay. Two excerpts that probably aren’t from the same film are both credited as Hyde Park Corner (1889). One plays like Leisurely, except its subjects are gracefully further from the camera. The other is a nice scene of a policeman with a child, illuminated with good lighting. A frame of it could make a pretty photograph. I’m curious if this is the first depiction of a policeman in film history. Traffic in King’s Road, Chelsea (1890) takes advantage of sharp angles and more realistic filming. Some of the movement is a little punchier, with people moving with more speed, as if depicting people in a hurry. The policeman excerpt and Chelsea both have visuals good enough to justify a viewing.
To learn more about William Friese-Greene, go to: https://friesegreene.com/
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