Source: ‘A Wonderful Invention: The Cinématographe of M. Lumière’, The Sketch, 18 March 1896, p. 323
A WONDERFUL INTENTION.
THE CINÉMATOGRAPHE OF M. LUMIÈRE.
Although unwilling to quarrel with William Shakspere about his statement that the rose would smell as sweet under any other name, I can’t help thinking that “Cinématographe” is a nasty word for busy people. It has a terrifying effect upon the man in the street who calls an entertainment a “show.” But it must be confessed that, despite its name, M. Lumière’s invention is one that will ultimately emulate the telegraph and telephone in usefulness. Instantaneous photography developed to a surprising extent is, apparently, the secret of the Cinématographe. Photographs of a moving scene taken at the rate of fifteen per second, and thrown on to a screen through the machine at the same rapid rate, enable the eye to retain one image until the successor is presented. The result is a moving picture of the event, scrupulously exact in detail, whose importance it would be difficult to overestimate.
The columns of The Sketch are my confessional, and I do not hesitate to say that its long name kept me away from the hew invention when the scribes of London were bidden to its reception.
I saw the Cinématographe worked for the first time at the Empire Theatre last Monday week. Ten pictures were presented. I take one, “The Arrival of the Paris Express,” as a type. A railway-station is the subject of the first photograph thrown on the screen, and, from flashes in all directions, it is evident that the effect is sustained by rapidly continued exposures. In the distance there is some smoke, then the engine of the express is seen, and in a few seconds the train rushes in so quickly that, in common with most of the people in the front rows of the stalls, I shift uneasily in my seat and think of railway accidents. Then the train slows down and stops, passengers alight, the bustle of the station is absolutely before us the figures are life-size. Old country women ascend and descend some man jumps on to the platform, and then looks about helplessly, until other passengers elbow him aside. It is such a scene as I have often witnessed on a journey to or from the Riviera and, in the darkened house, it stands out with a realism that seemingly defies improvement. Granting, for the sake of argument, that this picture took one minute to present, it represented nine hundred photographs originally taken at the station in the same space of time, and there was no palpable break in the continuity of the series. The effect on the audience was shown by the applause that would not be silenced until the picture was presented again.
M. Lumiere’s five-syllabled invention is yet in its infancy its possibilities are almost awe-inspiring. At present the photographs are no bigger than postage-stamps, and, thrown life-size on to the screen, they inevitably lose certain details. When practice has brought about perfection, where will the invention stop? Imagine it worked in connection with the phonograph. The past will become annihilated; our great Parliamentary debates, our monster meetings, our operatic and theatrical performances, will remain for ever, or even longer. I do not dare to think of the scientific and medical possibilities, but am content to dwell on the more popular ones. While the phonograph preserves the sounds, the Cin., &c., will do the rest. A trifle of about forty-five thousand exposures will preserve an Empire ballet intact for ever. Why did not M. Lumière arrange his invention before the exquisite Katrina became a thing of the past? Soon nothing that is beautiful will be mortal, and as the song has become immortal through the phonograph, the exquisite graces of the dance will be preserved by the new invention. Would not Horace have modified his famous ode to Postumus had he dreamt of such things as will soon be regarded as ordinary? I have for the last week been imagining some of the many things that will be represented or later. How splendidly a Spanish bull fight could be shown!
The present exhibition at the Empire Theatre, where, by the way, breathing-space is almost at a premium, is directed by M. Trewey, and I felt that I must call on him, in the interests of humanity at large, or rather, that large part of humanity given to Sketch reading.
I found M. Trewey on the stage of the Empire, smiling for all he is worth which is probably a large amount. No wonder he looked pleased. A few hours before he had been visited at the Polytechnic by the Duke and Duchess of Connaught, who had expressed their delight with his entertainment.
“M. Lumiere, of Lyons,” he said, is my oldest friend, and he gave me the choice of the country in which I would show his invention. Of course, I chose England. I had intended to retire from work altogether, for” – and his eyes twinkled – “I have been a careful man But I thought this work would be very light, so I took it. Now, I never know a moment’s rest, and I have promised the directors here to give at least one new picture every week. As soon as the fine weather sets in again,” he went on, we shall do fresh work on the racecourse, river, and similar places. We are not going to be idle.”
And, as though to prove his words, M. Trewey, with a hurried apology, bustled off to the centre of the stage with all the energy and enthusiasm of a very young man. I noticed that the machine was being rapidly prepared, and that one or two of the charming corps de ballet had evidently obtained permission to see the performance from the stage. Unfortunately for me, I was very much overdue at another house of entertainment. I could but sigh for the delight of the few occasions when my visits to Empire stageland have been longer. Then I departed.
Comments: The Lumière Cinématographe film show opened at the Empire variety theatre in London on 9 March 1896, having made its UK debut on 20 February. The entertainer Félicien Trewey, a friend of the camera-projector’s inventors Auguste and Louis Lumière, was the host of the show. Ten or so of the one-minute films were shown (sometimes with repeats, as indicated here). Such was its popularity that it was shown several times a day. This unsigned report is of particular interest for its first-hand account of the unease felt by some attendees of the first screenings at films featuring an oncoming train.
Links: Copy at British Newspaper Archive (subscription site)