Le Voyage dans la Lune at 115, Part III (Reception and legacy)

Georges Méliès began filming Le Voyage in May 1902, and began selling prints to distributors after finishing in August. The hand-coloured print from Elisabeth Thuillier’s studio ran from September–December by Méliès’s Théâtre Robert-Houdin in Paris.

Jules-Eugène Legris, a co-worker and fellow magician, who appears in the final scene as the parade leader, screened the film after Thursday and Saturday matinées.

Black and white prints sold for 560 francs, and colour prints went for 1,000. Sadly, due to rampant piracy, Méliès never got most of the profits from this runaway blockbuster.

Not only was Méliès a victim of piracy and cheated of most of his rightful profits, he also wasn’t credited onscreen or in advertisements either. The only U.S. exhibitor who credited him during the first six months of the theatrical run was Thomas Lincoln Tally, of L.A.’s Electrical Theatre.

To try to nip this situation in the bud, Méliès opened a U.S. branch of his Star Film Company in New York in 1903, run by his brother Gaston. This studio sold his films directly and registered them with U.S. copyrights.

The catalogue introduced this English-language studio thus: “In opening a factory and office in New York we are prepared and determined energetically to pursue all counterfeiters and pirates. We will not speak twice, we will act!”

Méliès also made trade arrangements with companies including American Mutoscope and Biograph, Gaumont, the Charles Urban Trading Company, the Warwick Trading Company, and Robert W. Paul’s company. Fifteen cents per foot of film became the standard price.

In 1908, new price standardizations from the Motion Picture Patents Company made Méliès’s films outrageously expensive. Coupled with the fact that his films’ fantasy and magical themes fell out of fashion, this set the stage for his financial ruin and fall into obscurity.

Because of the film’s high price, Méliès at first was unsuccessful at selling prints to fairground exhibitors. However, when he gave one exhibitor a free print, it was a wild success from the very first showing. Fairgoers packed into the theatre until midnight, and the exhibitor immediately bought the film.

When Méliès reminded him of his initial reluctance to pony up the money, he offered 200 francs to make up for this insult and inconvenience.

The film ran continuously by L’Olympia in Paris for several months. Due to the abovediscussed piracy, the film also was a runaway success in the U.S. It ran in cities including New York, New Orleans, Kansas City, Washington, D.C., Detroit, L.A., and Cleveland.

Through 1904, it was a featured headline attraction in countries including Canada, Italy, and Germany. Truly, this was one of the most popular films in the early 20th century, across all markets.

Because of Méliès’s later financial woes and tanked reputation, many of the copies of his prints were lost. In 1917, the military occupied his office and melted down many of his films for silver and celluloid. The silver was used for ammo; the celluloid, boot heels.

When the Théâtre Robert-Houdin was razed to the ground in 1923, the prints stored there were sold to a second-hand film vendor by weight. Later that same year, Méliès burnt all remaining negatives in his garden in Montreuil, in a fit of anger.

In 1925, be became a toy and candy vendor by a stand in the Gare Montparnasse railway terminal in Paris, and his impressive body of film work seemed as though it had slipped into the foggy mists of time.

Thankfully, due to early film history devotees, Méliès was rediscovered in the late 1920s, and his reputation and popularity were restored. Two copies of Le Voyage were found, though both were incomplete. In 1997, a complete print was finally reconstructed.

In 1993, a hand-coloured print surfaced, believed to be from a Spanish distributor on account of the flag in the launching scene being coloured like the flag of Spain. From 2002–05, this print was restored against all odds, and in 2010, a complete restoration became publicly available. In 2011, the finishing touches were put on this restoration.

Le Voyage has had a most enormous impact on filmmakers and popular culture over the past 115 years. It made people realize films could be purely for entertainment, and that sci-fi films were not only possible, but could be popular as well.

The iconic image of the Moon with the spaceship in its eye has been referenced countless times in films, artwork, and other creative visual media.

Though Méliès didn’t think this was his greatest work, he acknowledged it was his most popular. This milestone film has more than earned its rightful place in cinematic history.

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Le Voyage dans la Lune at 115, Part II (Behind the scenes)

In loving memory of Dante Alighieri, who departed this world 696 years ago today.

Georges Méliès’s sci-fi classic was inspired by the Jules Verne novels De la Terre à la Lune (From the Earth to the Moon) (1865) and Autour de la Lune (Around the Moon) (1870). Another prominent influence, albeit not personally cited by Méliès, seems to have been H.G. Wells’s The First Men in the Moon (French translation published 1902).

Still other influences suspected by film scholars include Jacques Offenbach’s operetta Le Voyage dans la Lune (produced 1875–76) and the 1901 Pan–American Exposition’s A Trip to the Moon ride in Buffalo. The latter cost fifty cents, and was one of the first space-themed rides. It was also the very first dark ride (think Disney’s Pirates of the Caribbean).

Though film actors weren’t credited in 1902 (due in large part to how it was considered low-brow entertainment, inferior to theatre), we know Méliès played Prof. Barbenfouillis. He did everything in his films—acting, directing, writing, editing, producing, designing, special effects, publicity, technical details. As such, he was one of cinema’s very first auteurs.

All told, Méliès starred in at least 300 of his 520 films. He was a cinematic star without knowing it, before such a concept existed.

Other players were Bleuette Bernon as Phoebe (a very early character actor); magician Jules-Eugène Legris as parade leader; Henri Delannoy as rocket captain; salaried employee François Lallement as the Marines’ officer; Théâtre du Châtelet ballerinas as stars and cannon attendants; Folies Bergère acrobats as Selenites; and Théâtre de Cluny actor Victor André and music hall singers Delpierre, Farjaux, Kelm, and Brunnet as the other five astronomers.

Le Voyage was Méliès’s longest film to date, at 17 minutes (by Méliès’s preferred projection speed, 12–14 frames per second). Most DVD prints run closer to 13 minutes. It took three months to film, and had the extravagant budget of 10,000 francs ($1,296.95 in 2017 U.S. currency, if I calculated the inflation and conversion correctly).

Most of the money went towards the Selenites’ costumes and the mechanically-operated scenery. The backdrop of the glass-roofed workshop in which the spaceship is built was painted to resemble Méliès’s real glass-roofed studio.

Méliès’s cameramen were Théophile Michault and Lucien Tanguay, salaried employees of his Star Film Company, who also performed tasks such as setting up scenery and developing film.

His actors were hired on a film-by-film basis and paid one Louis d’or a day, which was much better pay than that offered by competitors. Another perk was taking a free meal with Méliès at noon every day.

In an era well before CGI, Méliès achieved many of his special effects via substitution splice. Filming stopped for something to be removed, changed, or added. The footage was then spliced together. Other methods included transitional dissolves, multiple exposures, pyrotechnics, and stage machinery.

Méliès was a magician prior to becoming a filmmaker, and most marvellously used all the tricks of his former trade to wonderful effect.

Some prints were hand-coloured by Elisabeth Thuillier, who began working with film in 1897. Her studio was an all-female business, and used four basic dyes—magenta, orange, bright yellow, and blue-green. The dyes were often mixed to create other colours, and changed tone depending upon the shade of grey underneath.

Mme. Thuillier hand-coloured all of Méliès’s films from 1897–1912.

Like many of Méliès’s other films, Le Voyage too was meant to be accompanied by a bonimenteur (narrator) explicating the action onscreen. While the general stories in his films can be followed without intertitles, there are crucial details missing without spoken narration.

Méliès advertised the film as a pièce à grand spectacle, a type of stage extravaganza popularised by Jules Verne and Adolphe d’Ennery. Some film historians also classify it as part of the féerie genre (fantasy with mechanical stage effects, awesome visuals, and lavish scenery).

The film also contains strong satirical and anti-imperialism themes, with its bumbling explorers, obvious violations of the laws of physics, the violent treatment of the Selenites, and the parading of a Selenite captive in the concluding victory parade.

Le Voyage dans la Lune at 115, Part I (General overview)

Released 1 September 1902 in France and 4 October in the U.S., Le Voyage dans la Lune is without a doubt the most famous film of the great Georges Méliès, and one of the most important films of cinematic history. That image of the Moon with the spaceship in its eye is iconic.

Méliès stars as Prof. Barbenfouillis, president of the Astronomic Club. One member of the club quite vociferously disagrees with his proposal for a voyage to the Moon, but Barbenfouillis shuts him up by throwing a book and papers at his head.

Ultimately, the mission is unanimously approved, and five other astronomers are chosen to come along—Nostradamus, Alcofrisbas, Omega, Micromegas, and Parafaragaramus. A most splendid spaceship is constructed for them, whose construction they get to witness.

When the big day arrives, the astronomers are seen off with great fanfare. On a signal, the cannon loaded with the spaceship launches our heroes.

After arrival on the Moon, the astronomers are delighted to see Earth rising. They’re also delighted by the craters. Unfortunately, just as they’re about to start exploring, an explosion sends them sprawling. They then stretch out to sleep, feeling very fatigued by their journey.

Seven gigantic stars (i.e., the Big Dipper) appear, and, slowly, women’s faces come out of the stars. They seem annoyed by the intrusion of the explorers. The stars are then replaced by a lovely vision of Phoebus on the crescent, Saturn in his globe, and two charming young girls holding up a star.

By order of Phoebus, the exolorers are punished by a downpour of freezing snow, which wakes everyone up. While the snowstorm is still raging, they escape into a giant crater, and find a landscape of enormous mushrooms in a grotto.

Barbenfouillis plants his umbrella in the ground to compare its size against the mushrooms, but the umbrella suddenly takes root and transforms into a mushroom which begins growing to giant proportions.

Selenites, inhabitants of the Moon, emerge from underneath the mushrooms and attack the explorers. Barbenfouillis attacks one with his umbrella, which makes him burst into a thousand pieces. However, the Selenites keep coming, and the explorers are overpowered.

When the explorers are brought, bound, to the king’s palace, Barbenfouillis breaks free of his restraints, dashes for the King, grabs him, and throws him on the ground. The King breaks into a thousand pieces, and the explorers escape.

With the Selenite Army hot on their heels, the explorers run as fast as they can. They manage to disintegrate enough of their pursuers to escape into the spaceship. Only Barbenfouillis is left behind.

Not to be deterred, Barbenfouillis grabs onto the rope attached to the ship. His weight causes it to fall off the Moon, with the remainder of the Selenite Army unable to catch them. The shell falls with sickening rapidity, and lands in the ocean.

Due to the way the ship is constructed, it easily rises back to the surface, and is towed to port by a ship. The explorers are given a heroes’ welcome.

Monsieur Verdoux at 70, Part I (General overview)

Released 11 April 1947, Monsieur Verdoux was not only Chaplin’s first film without either the Little Tramp or a Tramp-like character, but also his first true all-talking film. While The Great Dictator was his first actual talkie, that film uses sound rather selectively. A number of scenes have no dialogue, letting the pantomime do the talking.

This dark comedy didn’t go over so well in the U.S., due to the radical departure from Chaplin’s usual forte, and all the political controversies and personal scandals he’d weathered in recent years.

The story of bluebeard (serial wife-murderer) Henri Verdoux was inspired by Henri Désiré Landru (12 April 1869–25 February 1922). He served in the French Army from 1887–91, and upon his demobbing, began a relationship with his own cousin.

Though they had a daughter together, Landru married another woman two years later, with whom he had four kids. After a boss swindled him, he turned to the dark side.

Landru was convicted and sent to prison in 1900. He was estranged from his wife by 1914, and became a used furniture dealer. As WWI progressed, he took advantage of the ever-increasing pool of widows to prey upon fresh victims.

When a widow answered his personal ad and came to his villa, Landru would seduce her, gain access to all her assets, murder her, and burn her body in his oven. He murdered ten women from 1914–19, as well as the teen son of one of them. Since Landru used many aliases and left no bodies behind, it was impossible to catch him.

Finally, in 1919, the sister of victim Célestine Buisson convinced the cops to arrest him. Though she didn’t know his real name, she remembered his address and appearance.

Landru was initially only charged with embezzlement, since a thorough search which included digging up the garden yielded no bodies. He also refused to talk to the cops. However, cops eventually put together a trail of evidence proving what he’d done.

In November 1921, the trial began. Landru was convicted on all eleven counts of murder and sentenced to death. Three months later, he was guillotined in Versailles.

Over the years, he’s been referenced or depicted many times in popular culture.

Orson Welles wanted to cast Chaplin as a character based upon Landru. Chaplin claimed he backed out of the idea when Welles admitted the script hadn’t been written yet and that he wanted Chaplin’s help to write it.

Welles claimed the script already existed, and Chaplin bought the script from him and rewrote several important scenes. Because Welles desperately needed money, he signed away all his rights, in spite of feeling he would’ve been a better director.

Chaplin claimed he soon began thinking about what a great idea it would be to use Landru’s story as the basis of a dark comedy. Chaplin phoned Welles and offered $5,000. Welles eventually accepted screen credit for the idea.

The film was a poor match to the prevailing social, political, and cultural milieu in the U.S. in 1947, but it did rather well in Europe, particularly France. In spite of this, it was nominated for the 1947 Academy Award for Best Writing (Original Screenplay).

While promoting his film, Chaplin was subject to hostile press treatment. During the brief time it played in the U.S., several boycotts were staged. By one of his promotional press conferences, Chaplin followed his opening remarks by inviting the press to “Proceed with the butchering.”

Chaplin’s speech near the end of the film is brief but powerful. Along with the first season finale of The Boondocks, it almost, almost, almost made me reconsider my support of the death penalty.

The film opens with a shot of Verdoux’s grave and proceeds to a flashback explaining what lead up to that moment. The viewer knows going in what happened to him, but not the how and why.

Originally, the final speech was even more biting, but the Hays Office wasn’t pleased with these lines:

“To be shocked by the nature of my crime is nothing but a pretence… a sham! You wallow in murder… you legalize it… you adorn it with gold braid! You celebrate it and parade it! Killing is the enterprise by which your System prospers, upon which your industry thrives!”

University of Montpellier

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Copyright Albertvillanovadelmoral

Though most people think of the Sorbonne when they think of French universities, there are many other wonderful schools too. The University of Montpellier is one of France’s oldest and most venerable, formally founded in 1289 and truly dating back to at least 1137. Not only is it one of France’s oldest schools, but one of the oldest universities in the world.

Before Pope Nicholas IV issued a Papal bull bestowing university status in 1289, there were a series of venerable liberal arts schools in Montpellier. Italian jurist and glossator (legal student) Placentinus came to Montpellier from the University of Bologna’s law school in 1160 and taught there during two different periods. He died in Montpellier in 1192.

Professors from Montpellier’s law school were very instrumental in the drafting of the Napoléonic Code of 1804. These civil laws are still in use in modern-day France, though with some changes over the years.

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Faculty of Medicine, Copyright Albertvillanovadelmoral

Montpellier’s school of medicine was in existence at least as early as 1137, staffed by doctors trained in Spanish medical schools. It’s the world’s oldest medical school still in operation.

In the 14th century, the medical school famously argued the cause of Bubonic Plague was a miasma penetrating the body’s pores. Montpellier-educated doctors urged people not to bathe, for fear it would open pores and invite in the miasma. This miasma was supposedly created by air exposed to decaying bodies, humid weather, and fumes resulting from poor sanitation.

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Faculty of Law, Copyright Vpe

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University garden, Copyright Vpe

Le Jardin des Plantes de Montpellier was founded in 1593 on the orders of King Henri IV, and under the leadership of Pierre Richer de Belleval, an anatomy and botany professor considered the father of scientific botany. France’s oldest botanical garden, it was inspired by Orto Botanico de Padova (Padua), and in turn inspired le Jardin des Plantes de Paris in 1626.

Today, the garden is home to 2,680 plant species, 500 of which are native to the Mediterranean region. About 1,000 of these species are in a greenhouse. There are also palm trees, orange trees, aquatic plants, ferns, orchids, succulents, and medicinal plants.

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Copyright Vpe

The school of theology dates back to at least 1350, as evidenced in two letters of King Jean II. Pope Martin V bestowed canonical institution upon the school in a Papal bull of 17 December 1421, and it was thus closely united with the law school.

The Catholic theology school was thrown into haywire by the 16th century triumph of Calvinism in the region, though the Catholic school was reinstated in 1622. However, the Jesuit vs. Dominican rivalry put even more strain on the school, and it eventually disappeared upon the French Revolution.

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Office of the Dean of the Faculty of Medicine, Copyright Vpe

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Marine biology station, Copyright Fagairolles 34

Like all other French universities, Montpellier too was closed upon the French Revolution in 1793. In 1810, the schools of letters and science were reopened, and the law school reopened in 1880.

In 1969, the university was officially reorganised, as a result of the famous student riots all over France in May 1968. It henceforth was split into three schools. University of Montpellier I had medicine, law, and economy; II had science and technology; and III had liberal arts, social sciences, and humanities.

On 1 January 2015, I and II merged to become a newly-recreated University of Montpellier. III became a separate institution, Paul Valéry University.

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Papal bull of 1289, establishing the university, Copyright Vpe

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Faculty of Pharmacy’s drugstore, Copyright Vpe

My character Imre always dreamt of studying literature by the Sorbonne, but after Csilla and their other friends move to a strawberry farm in Béziers, run by the Jewish Scouts and Guides of France, Imre can’t take the separation and rushes down to that farm. He gets his own living quarters on the farm, and commutes about 30 minutes to the university.

In Montpellier, Imre runs across some of Csilla’s Abonyiak friends whom they’d falsely believed died. I thought all these people had died too, but once they were no longer just names and death dates, I didn’t have to heart to kill so many of them. I arranged for their survival through transports to various factories, being left behind upon evacuation, and death march escapes.

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Faculty of Medicine court of honour (formerly the cloister of Montpellier Cathedral’s monastery), Copyright Vpe

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Bell tower of cathedral, seen from Faculty of Medicine, Copyright Vpe