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This footage of the "Arrival of a Train" is one of the most enduring photos of the earliest years of cinema. The often-repeated accounts of the startled reactions to this film from early audiences, along with the methods that such reactions were commemorated in another early films such as "The Countryman and the Cinematograph", have made it one of the best-known of the earliest movies, and beyond that, the movie in itself accomplishes its own aim very well.The Lumières discovered very quickly how effective motion towards the camera should be, and that concept is certainly used to nice result here. The diagonal direction of the motion, necessitated by the material being filmed, gives it a distinctive character. Compared with the train, the crowd reactions here are a bit less interesting than they are in some of the another Lumière details that contain crowds who know they are being filmed. A couple of them do acknowledge the camera as they go about their business.Yet even today, the train grabs the viewer's notice, so that the crowd and another features receive much less attention. That in itself shows how effectively this enduring classic was able to carry out an interesting idea.
I have tiny to add to another reviewers, except to tell that this movie took a sudden importance in my life last year. In 2002 I was travelling by train to my first ever Cannes Movie Festival. At one mission the train was moving slowly and I looked out of the window and found that we were pulling through La Ciotat, and the platform hadn't changed a bit. Sadly the train didn't stop, otherwise I would have been tempted to jump off for a moment, but given the purpose of my adventure I felt a strange thrill at being there. Just a tiny private anecdote, but perhaps it shows something of the power and importance of those early steps in film.
Having invented a hand-cranked, motion-picture camera during the year 1894 - and making movies that should be exhibited to scientific groups during the early months of 1895; Louis Lumiere was a driven man. During one exhibition of the Cinematograph at the Societe d'Encouragement pour l'Industrie Nationale, he met an engineer (Jules Carpentier) who wished to manufacture the invention for selling in Paris. Louis agreed the proposal. Initial production would be 25 units. They would be professionally manufactured as opposed to the inventors experimental camera. Louis continued to test this camera to gather enough views for a public presentation at the end of the year.There were a number of issues in producing the first prototype of the twenty-five units. Even when Louis, exhausted, took some rest-and-relaxation at the Lumiere's holiday house in the city of le Ciotat (pronounced see-oh-tah), he should not relax; and remained in constant communication with Jules in Paris. Louis was able to communicate on a everyday basis with Jules because the email trains of "le P.L.M. (Paris-Lyon-Mediterranee)" railway provided him with a means of staying in touch as well as providing his transportation between Lyon and la Ciotat.Still driven by his work, he decided to go to the station and test the arriving train as one of his subjects. Perhaps wanting to assure that there would be plenty of action to record on the station platform, he took along his mother, his wife, and his two kids along with their nanny. They all ventured forth, on a bright sunshiny Mediteranean day - la Ciotat is on the southern coast of France, between Marseille and Toulon, where folks came to sunbathe and fish - the group ventured forth to the train station on the northern edge of the city with the verdant foothills of the Alpes de Provence providing a backdrop to the railroad.Louis' wife, in a neck-to-foot elegant dress with a pristine white bonnet, and the nanny were instructed to run around the platform and appear as if they were trying to locate an expected-arriver as the train ground to a halt. The mother, in a shawl, would quietly observe - as a nice matriarch should. Louis should not position his camera and allow the train chug from right to left across the view because he would just capture a blur. He positioned it very near the track so the train would be seen in its whole length; and then rattle by very close to the viewer. The station personnel, in uniform, would keep back the crowd of departing folks on the platform until the train had halted.So the train arrives; locomotive and tender pass to the left of the camera followed by a email vehicle and a string of passenger cars. Louis has been cranking since the train was in nice view. The crowd on platform can be restrained no more. They break ranks and transport to the platform edge, ready to board, as the train stops. The two girls with kids in hand bustle about looking for someone. The matriarch stands still - observing. A young, and unscripted, peasant lad wanders about seemingly unsure as to where he could go to search his car. Dazed by the journey of his first train ride? Then the doors launch (on the French railway equipment the compartments are entered/exited directly to the platform.) Passengers start to detrain. Louis has run out of movie and stops cranking.The first railroad train to star in a film prepares to transport on to Toulon (on schedule no doubt.)
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