La Fete Espagnole

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Movie
Original title La Fete Espagnole
Country of production France
Publishing year 1920
length 67 minutes
Rod
Director Germaine Dulac
script Louis Delluc
production Louis Nalpas
camera Paul Parguel
occupation

La Fête espagnole is a French silent film made in 1919 by Germaine Dulac , based on a script by Louis Delluc . The film was described in 1953 by the critic Georges Sadoul thanks to Delluc's manuscript as the first French cinema production that established impressionism as a cinematic art form.

action

There's a big festival going on in a small Spanish town. The old friends Miguélan and Réal have also arrived. Together we remember the Spanish dancer Soledad, who both were very fond of and whom we want to meet again here. Although neither of the two is particularly fond of them, Soledad calls on the two men who are courting her to fight for her to the death of one of them. While both men are now beginning their violent dispute about the beautiful woman, the dancer is already turning to another, the young Juanito. She follows him to the city festival and remembers the beautiful years of her past youth, dances with him all night and gets drunk.

Production notes

La Fête Espagnole was planned during the First World War . The film was shot between August and November 1919 in the Studios de la Victorine, the world premiere for critics took place on March 17, 1920. The mass start for the cinema audience was a few weeks later. A German premiere cannot be determined.

The main actress Ève Francis was the wife of the director Louis Delluc , who only wrote the script for this film. Gaston David took care of the cinematic equipment.

Reviews

The contemporary reviews emphasized above all Delluc's contribution to the film, while Dulac's staging skills received little attention. Post-war criticism put Delluc's preference into perspective. Below are several examples:

René Bizet said in 1921 in the satirical magazine "Le Crapouillot": “I think it is Louis Delluc who we owe the best film of the past year” and later added: “With its sober script and its composition, La Fête espagnole would have one Could have become a masterpiece if the atmosphere [of the film] had been better handled ”.

Jerzy Toeplitz 1895–1928 “History of Film” writes: “However, the Proustian moods are contained in all of Delluc's scenarios and films, and Proust's famous sentence about the“ minute, detached from the temporal order, which every person is free from the shackles of time liberated "is the basis and axis of the conflicts in the films La Fête espagnole ..."

In Kay Weniger's Das Großes Personenlexikon des Films , Germaine Dulac's biography reads the following: “Influenced by his colleague and teacher Louis Delluc, Germaine Dulac started out with the design of…“ La fête espagnole ”and“ La souriante Madame Beudet “design standards. Her productions showed sometimes impressionistic, sometimes surrealistic elements and showed Dulac's considerable skills in dealing with the technical possibilities (double exposure, slow motion, original editing technique, etc.) of the not yet fully developed medium of film. "

Georges Sadoul briefly decreed in the history of film art that although the content was "thin", Delluc and Dulac used this story as a pretext "to reproduce the exotic atmosphere of Spain".

Individual evidence

  1. ↑ Tami Williams: Germaine Dulac - A Cinema of Sensations. P. 104. University of Illinois 2014
  2. ↑ ibid.
  3. ↑ Jerzy Toeplitz: History of the film, Volume 1 1895-1928. East Berlin 1972. p. 244.
  4. ^ The large personal lexicon of films, Volume 2, p. 469. Berlin 2001
  5. ↑ Georges Sadoul: History of Film Art, Vienna 1957, p. 171

literature

  • Tami Williams: Germaine Dulac - A Cinema of Sensations. Pp. 103-107. University of Illinois 2014

Web links