I'm alone in room where y make me morning pass of a film as necessary as beautiful. It's titled Lumière! The adventure begins. It directs and exerts of illustrated, grateful, perceptive and admirable narrator Thierry Frémaux, man who possesses keys of kingdom at Almighty Festival of Cannes and whose programming of official section in last edition could provoke urticaria to any Film with two fingers in front and a little sense.
I do not know how you can react to a public accustomed by cinema today, mostly Hollywood, to consume images to all hosts, that plans do not last more than twenty seconds, to Empire of special effects, to love portrait that makes Frémaux Of inventors of something realistic or magical, wonderful in any case, called cinema. Perhaps he offended for having paid an entrance to attend something as exotic and tiring for m as archaeology of cinema. I mean, nobody's going to be clueless. For my part, it is most beautiful thing that has happened to me in a movie ater during last and discouraging months. I smile, river, fascinates me talent and imagination of Lumière brors (and hundreds of operators who worked on ir orders photographing unknown world, when traveling for him was a privilege of four elect, adventurers, traders or explorers ) applying three fundamental premises that raises Frémaux and what do I want to tell? How am I going to do it? What is best position of camera?, lucidly resolved by those who were inventing language of a new art.
They estimate that those who for first time stunned spectators with departure of factory workers created between 1895 and 1905 more than 1,400 films. Frémaux shows a hundred of m. Don't panic. It only lasts 50 seconds. The agenda is very broad, but never bombastic. Their cameras film life, landscapes, rhythm and color of streets (colors reproduced in black and white), to people. And any occasion is good, from breakfast of a baby to game of cards between three Cezannianos characters, from Egyptian sphinx to Big Ben Londoner, from glorious Spanish army dancing jacks to Vietnamese children who approach with a fascinated gesture Towards camera, from mountaineers photographed with enormous risk to a family making memorable acrobatics. The camera is almost always fixed, but y also discover travelling and depth of field on occasion.
The Lumière brors, like Phoenician Edison, conceived cinema as a business with succulent possibilities, but y also understood that y could combine spectacle and art. They had bad press, unlike great and ruined Georges Méliès or that masterful visionary and racist militant named David Wark Griffith. They deserved to be vindicated and Frémaux does so just as model. I leave cinema with a very pleasant feeling and need to return to enjoy in my house (where if not?) of some of wonders that bore silent cinema. Of all Keaton, that is, purity, determination, grace, subtle lyric, best inventor of visual forms with Hitchcock of history of cinema, of some unpayable moments of Chaplin, of poetic and Precious dawn. What an unpostponable homage to pioneers implies this film.