The invitation to travel
| Movie | |
|---|---|
| German title | Invitation to travel |
| Original title | L'invitation au voyage |
| Country of production | France |
| original language | French |
| Publishing year | 1927 |
| length | 797 meters, at 18 fps 39 minutes |
| Rod | |
| Director | Germaine Dulac |
| script | Germaine Dulac and Irène Hillel-Erlanger after Charles Baudelaire |
| production | Germaine Dulac |
| camera | Paul Guichard and Lucien Bellavoine |
| occupation | |
also | |
The invitation to travel is the German title of the French silent film L'invitation au voyage , which Germaine Dulac produced in 1927. Her scenario, which she wrote with Irène Hillel-Erlanger, was based on a poem by Charles Baudelaire .
action
The subject of the depiction are the secret longings of a married woman in search of new erotic experiences. She is both fearful and adventurous at the same time. She goes to an establishment with a dubious reputation. There she caught the attention of a dashing naval officer. But he distanced himself when he noticed that she was no longer free. The sailors in the restaurant, on the other hand, are not so sensitive ...
background
The set was designed by Cesare Silvagni . Paul Guichard and Lucien Bellavoine were in charge of the camera . Marie-Anne Malleville assisted the director . Direction and production were in the hands of Germaine Dulac. The film was viraged. It premiered in France in December 1927. It has also been shown in Poland and the USA.
reception
Literary template
L'Invitation au voyage (The Invitation to Travel) is an experiment on image associations, a cinematic poem that is based on Baudelaire's lyrical symbolism in "The Flowers of Evil". […] In the rhythmic structure of the sequence of images, as well as through the purely musical setting as an intervening element, an experimental variation of closeness, longing for distance and disappointment emerges. (Clarissa Lempp)
Dulac shows in her film “the loneliness of femininity especially as a wife and mother. The trapped sensation of being confined by home and responsibility, that even beyond the walls of her prison, she is trapped by her own mind and the expectations that they bring. The sailors of the bar represent a sort of freedom, they ask young women to come on journeys with them, but it's under the pretext of sexual favors, a sort of slavery. For some though, this is the only escape. There is no escape from the world of men, they rule all. "(Justine Smith)
Film language
Overall, Dulac works in this short film with many cross-fades, depictions of nature, dream depictions, close-ups and close-ups as well as an associative montage. Here the plot is pushed into the background again in order to particularly illustrate the protagonists' emotions and longings.
Compared to that of La Coquille et le Clergyman , the film's montage is less spectacular, but handled with equal virtuosity and benefits the actors entirely. It is only interrupted by their dream sequences. These are full of images of erotic desire, foaming seas, lonely, romantic ships and the chance of a partnership. The male sailors' imagination is not that subtle: the images are dominated by “victory”, “war” and open sex.
Film music
“In the 1920s, the avant-garde often tended to give weight to their imaginations by resorting to music. As for Germaine Dulac, who found access to the world of cinema through beautiful musical accompaniment, she certainly had an intimate relationship with music. Unfortunately, not one of the scores or musical fragments that accompanied her short films has survived. "
»The integrated film that everyone dreams of is a visual symphony of rhythmic images that are thrown onto the screen in an orderly manner by the artist's sensations. There are symphonies, there is pure music, why shouldn't the cinema have its own symphonies? "(Germaine Dulac, Paris 1925)
“In her film, Dulac shows the musicians in the bar and their instruments in detail: accordion solo, with singing or with a small orchestra (violin, banjo, drums), violin solo, South Sea guitar with singing (or pantomime?). The sequence of the musical numbers and the alternation of dance and lecture pieces also give the film an episodic structure. The gestures and facial expressions of the musicians (and also of the instruments!) Also have a direct influence on the moods of the bar guests (and the film viewers) ”.
Catherine Milliken composed new music for the "Invitation to Travel" in 2002 . It was recorded by the Ensemble Modern , in which Milliken plays the oboe, with clarinet, horn, string bass, piano and percussion. Compared to the music evoked figuratively in the film, Milliken's new accompanying music proves to be attentive but independent.
Résumé
“Pur produit de l'avant-garde française des années vingt, le film de Germaine Dulac éblouit par sa splendeur visuelle, son inventivité formal, le rythme musical que le montage insuffle à son lancinant sur place (car il n'y a pas vraiment de progression dramatique et à peine une intrigue) mais touche aussi par sa cruauté désabusée et parvient à émouvoir en suggérant l'amertume des occasions manquées et des vies gâchées. "(Claude Rieffel)
Re-performance
The culture broadcaster Arte broadcast the film in a restored version on June 25, 2005 as a German premiere on television. On February 9, 2007, it was screened at the Berlin International Film Festival.
The Arte édition brought "The invitation to travel / L'invitation au voyage" in its publishing absolutMEDIEN out along with two other films of Germaine Dulac on DVD.
literature
- Friends of the Deutsche Kinemathek e. V. (Ed.) [Ed .: Sabine Nessel]: L'invitation au voyage, Germaine Dulac. International symposium "L'invitation au voyage - Germaine Dulac", (Frankfurt am Main): 2002.10.31-11.03. Verl .: Friends of the Dt. Kinemathek, Berlin 2002, Kinemathek series, issue 93, ISBN 3-927876-17-8 .
- Kirstin Hammann, Maria Malzew: Film Theory: Impressionism in Film. Article on line at uni-hamburg.de , posted May 18, 2014.
- Ekkehard Knörer: A bra looks good as a shell , in the TAZ of October 11, 2007.
- Clarissa Lempp: L'Invitation au voyage Germaine Dulac. Review of July 7, 2007 on AVIVA-Berlin .de, accessed on May 1, 2020.
- Justine Smith: L'Invitation au voyage (Germaine Dulac), on line at wordpress.com , posted on April 6, 2009.
- Mischa von Perger: L'Invitation au voyage (Germaine Dulac) at beepworld.de , 09.11.07.
- Claude Rieffel: L'horizon chimérique . Dans voir-alire.com , Le 27 février 2012.
Web links
- The invitation to travel in the Internet Movie Database (English)
- Film to be viewed on [1]
Individual evidence
- ↑ Berthe Rebecca Alice Irène Hillel-Manoach, 1878-1920, writer and multiple screenwriter for Dulac, cf. Irène Hillel-Erlanger in the French language Wikipedia
- ↑ This is the poem L'Invitation au voyage from the Les Fleurs du mal collection from 1857, which can be read at etudes-litteraires.com
- ↑ a detailed description of the content is given by Perger (2007)
- ↑ IMDb / release info
- ↑ so Kirstin Hammann and Maria Malzew at uni-hamburg.de ( Memento of the original from June 27, 2016 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , May 18, 2014
- ↑ arte tv, quoted. according to wordpress.com
- ↑ cit. according to absolutmedien.de
- ↑ cf. Perger (2007)
- ↑ cf. “La musique du film date donc du 21ème siècle: Catherine Milliken, hautboïste de l'Ensemble Modern, compose le nouvel accompagnement en 2002. Elle renonce à la figure du redoublement ostentatoire en cherchant davantage à transcrire l'univers affectif de la protagoniste par l 'emploi de variations pour clarinette, bugle, cordes basses, percussions et piano. " (Arte TV)
- ↑ cf. Perger (2007)
- ↑ cf. beepworld.de ( Memento of the original from March 26, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ cf. 2007 program
- ↑ namely “ The smile of Madame Beudet ” ( La souriante Madame Beudet ) (1922) and “ The shell and the cleric ” ( La coquille et le clergyman ) (1927) based on a script by Antonin Artaud .
- ↑ Germaine Dulac: 3 films by the French silent film pioneer. Order no .: 865, ISBN 978-3-89848-865-5 , cf. absolutmedien.de
