Milan, March 1947
was held recently at the Culture House, a. retrospective exhibition of exceptional interest, whose program included films made between 1896 and 1911. For the first time in history no longer short of a retrospective Italian public of amateurs could see on the screen, projected from. a machine the original one, that Guido Guerrasio personally made it work by hand in a crowd is not decomposed in the large room that looked more impossible angle to see the movies of Georges Méliès, Louis Feuillade, Romeo Bosetti, the very first Max Linder. Méliès, the man who knew the movies, for the first, giving the spirit of absolute fantasy, were shown "The serpentine dance ',' metempsychosis 'and' The Fairy Spring." The first is a kind of exorcism, for which some braziers ballerinas out in droves, and after a dance choreography follows the extraordinary effect their transformation into flames, also dancing on the floor. The second, which perhaps is a direct transposition of one of those extraordinary events of transformation that the Méliès held at the end of the last century in the theater of Robert Houdin Paris, is already almost a true story. On a fund-style floral is a statue, placed by a woman on a pedestal the bust comes alive, turns into a large wreath of flowers, the flowers become dancers, until a new fader brings up a large purple leaves from which the head of a woman with a wig. After a digression of details, in which dancers take various wings of a dragonfly, with draperies astronomical signs, you arrive at the decisive point of the 'metempsychosis' is formed by a large rose petals which leaves a child. Enter the woman takes the baby and take it with them then appears, a large cabbage, a cabbage to make perfect as the movement that brings out those wrinkled leaves a little boy crying. Step onto the pitch with the same woman, picks up the child, spoil them and puppet shows to the public happy, smiles, bows and disappears. Less naive and more "poetic", the story of the Spring Fairy in a winter scenery, where the snow falls on the stage of cardboard painted with nothing seems wrong, the fairy enters the home of two married older people in the form of old beggar. It is accepted in a spirit of charity, give it to refresh, the bridge of care. The fairy comes out in the garden of the couple, a few touches, and instead of snow is a rain of flowers, even the old woman has become a beauty. Without a bunch of flowers falling from the sky, the fairy gives it to spouses, surprised and moved. The fairy disappears, the bouquet turns into a child premium kind hospitality of the couple and consolation to their sadness. The historical importance d! these films is obvious, and the teaching of their language may go beyond the simple way, if one considers the fact that this kind of cinema has had (about Walt Disney for example) and still may have an address on fantasy and unreal.
The evening ended with the first screening of the film Max Limder, La première sortie of a Collegien "(The first cigar), made in 1905 and for which the French comedian felt a profit of twenty francs. The public has accepted the projection with a strong applause, forgetting that it had to follow the performance in difficult conditions: the table on which was placed machine-ila relic could be seen sneaking spectators who had followed the projection lying on the ground, while at least two hundred people had give up to get into the room. The recall of the event, exceeding all expectations, managed to overwhelm any organization, in the end, consoling a test, why is the proof that the interest in cinema retrospective ii increases day by day. The reporter
From the descriptions, two films (see photo) are of Méliès, but Segundo de Chomón. Anyway: what happened to the film library of this film?
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