L'Epée du spirite - 1910
ABOUT THE FILM : L'Epée du spirite
Lobster FilmsThe Spiritualist's Sword
Year: 1910
A musketeer comes into an inn while the servants are having dinner. He possesses a magic sword, the powers of which he quickly reveals to them. Objects appear and move on their own. In an instant, the table is set. An imp then comes in and creates total chaos. While the musketeer sleeps, one of the servants takes his sword, which is to play many a trick on him… This special-effects film is the work of a forgotten motion-picture pioneer, Segundo de Chomón.
Nationality: French
Length: 6' 12"
Genre: trick film
Sound: silent with soundtrack
Original elements: tinted
Producer: Pathé Frères
Composer: Pierre-Henri Dutron
Original language: French
A BRIEF HISTORY : L'Epée du spirite
Often, the name of Segundo de Chomón (1871-1929) is associated with that of Georges Méliès (1861-1938). If he is less known than his illustrious rival, the Spanish filmmaker has nonetheless little to envy in him in terms of creativity and inventiveness when it comes to special effects. It is in 1905 that Segundo de Chomón is hired by Pathé Frères, and put in charge of special-effects films to compete with Méliès. During the years 1908 and 1909, which are particularly prolific, Segundo de Chomón makes his best special-effects films, among the some 150 which he made for Pathé between 1905 and 1909.
The filmmaker shoots L'Epée du spirite in 1909. At the end of that year, his contract at Pathé comes to an end. The film is released in April 1910, after the director has returned to Spain. As often was the case, Chomón is the creator of the images and special effects, and directed this film.
Just as in Le Voleur invisible (The Invisible Thief) or Le Rêve des marmitons (Scullions' Dream), the filmmaker used the frame-by-frame technique to give the impression, upon projection, that the objects are moving completely autonomously. He employed, to do so, a singular camera, which, by means of a crank with various positions, enabled one to shoot frame by frame, either forwards or backwards.
To give the impression that the table sets itself, Chomón uses the technique of superimposition. He shoots first the images of the set, which include characters on the sides. Then, on the same part of the film, he superimposes the well-lit images of the tablecloth and objects, obviously manipulated by someone dressed all in black, who does not appear in the already recorded images of the set.
Chomón's direction is highly accomplished. The special effects are perfectly integrated into the script, and the story is centred on three different spaces (the main room, the stairwell and the bedroom) enabling, at the end of the film, the thus modified montage with the return of the musketeer to help the unfortunate servant.
The original music for this film was composed in 2011 by Pierre-Henri Dutron in the context of the partnership with the CNSMDP (Paris Conservatory of Dance and Music).
