George Méliès and the Wonders of Cinema

Lumiere Brothers Poster

It is interesting to think that by the end of the nineteenth century people were already watching movies. Perhaps not actually going to the cinema, and movies certainly weren’t widespread. But that quickly changed in a handful of years. At the beginning of the next century there were already movie companies, several producers, even theatres completely dedicated to cinema!

There were a lot of inventions that led to this point, and a lot of brilliant minds that contributed – like the Lumière Brothers, Thomas A. Edison, W. K. L. Dickson. Too many to list. At first movies were only considered a reasonably interesting curiosity, and were shown at fairs as just another entertainment. This isn’t surprising, seeing as at first “movies” were just a few seconds of a train arriving at the station, or a boat at the docks. But as they started to evolve to actual stories people started to see them as art and realized how much potential they had.

George Méliès

This is where George Méliès comes in. He lived in France and was one of the first supporters of the Lumière Brothers. There were several great directors doing amazing things, but this man was a magician. Almost literally, as he was an illusionist before he tried film-making. You can imagine the difference that made when he started to make his own movies. He brought a very different perspective to the movie business and can be called a pioneer in the field of special effects.

George Méliès made about 500 movies (not a typo!) although most of them are now lost. The roots of horror and fantasy movies can be traced back to him, genres which were greatly helped by the special effects he used. He created many of the techniques used today, but perhaps one of the most impressive was that he hand painted almost every movie of his. Well, not him alone of course. He had an enormous crew that painted every single to create images like the one below.

A Trip to the Moon

The first hubs of the cinema business were in the United States, where Edison lived, in France, where the Lumière brothers were, and in Italy. Americans welcomed these innovations quicker than other people, though. That added to World War I and Edison’s control over the industry eventually made Hollywood the main producer of movies of that time. At the beginning of the 1920s, American movie companies were producing over 800 movies a year, which was 80% of the whole industry.

This and some complications over copyright eventually led Méliès to declare bankruptcy in 1923. Charles Pathé (another French producer who owned him a lot of money) took over Star-Films, George Méliès’ company, which made Méliès burn most of his films’ negatives in a rage. That (and time) is why we only have around 100 of his movies nowadays.

Still, his work laid the groundwork to many techniques we see today, whether in special effects, filming or editing. Just think: now we are used to jump cuts and parallel scenes. But at the time, the first movie that did it was received with some confusion. People weren’t used to think that both scenes were happening at the same time and in different places. Film is everywhere now, but when it first showed up people weren’t used to seeing moving images. It must have looked like magic.

If you’re interested in George Méliès I suggest you read the book “The Invention of Hugo Cabret” by Brian Selznick, and watch the movie adaptation “Hugo” by Martin Scorsese. The same director has made a documentary about the history of American cinema: “A Personal Journey with Martin Scorsese Through American Movies” (and its companion “My Voyage to Italy” about Italian cinema). It runs for 4 hours, but if you would like to know more about many aspects of cinema, it’s a great documentary.

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Being a Perfect Edwardian Hostess

Afternoon Tea

Being a good hostess was an important role of the Edwardian woman. By keeping a good home and making guests welcome she could advance her husband’s career and increase her own social status. Parties were a huge undertaking, even with servants and the hostess was expected to have planned everything down to the tiniest detail. Any mishap would be blamed on her and would severely damage her reputation. This meant that huge planning was involved, from the guest list to the entertainment.

Choosing the Guests

It was important for the hostess to give the party the best chance of success by selecting the correct people to attend it. If there were to be important guests, only guests of similar rank and experience could be invited. This would mean the hostess would need to do research about the personalities involved and make sure to find matching traits amongst her own associates and friends. This could get complicated by the largeness of the party and there was always the chance of the wrong guest being selected and them causing embarrassment or interfering with the flow of conversation.

Listening to the Guests

The role of the hostess is to mingle amongst the guests and to make sure that she has the opportunity to talk to all of them. This means being familiar with the latest world events and local gossip.

She Knows the Guests Favorite Meals

The ideal hostess plans everything in advance and the meals and drink provided are carefully researched and cater to each guests taste. This research is able to be used later if she entertains the same guests again.

Have a Good Guest Room

The hostess needs to make sure that the guests have everything in their room to make the feel at home. The suggested articles are a clock, a writing desk for the guest who likes to take their correspondence with them, a sewing basket and a change of clothes. As well as practical things there should be items to keep guests entertained. A bookshelf full of books is always recommended and any interesting magazines.

Age after Rank

If there is no one of higher rank in the room, then the proper seating is to have the eldest members of the family sitting at the head of the table.

Want to Research Further?

Here are some books from the Edwardian period on being a good hostess:

The Good Housekeeping Hostess
The Art of Entertaining
The Art of Dinner Giving and Usages of Polite Society
The Hostess of To-day

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Going to Market in Edwardian London

Fruit Auctions at Covent Garden

London goes to market at Covent Garden, the one district which is astir early. Six o’clock is late and at eight the bargain hunters begin to be seen. At ten the garbage is being swept up and picked over by street combers, and before noon this heart of old London is deserted.

The actual area of Covent Garden seems small to encompass the central food supply of the world’s biggest city until one notices that it really trickles through the ramifications of a maze of neighbouring streets. Stalls, push-carts, wagons, costers and their donkeys, and barrows with peddlers of all ranks link up Holborn and the Strand by a livid stream of humanity and its paraphernalia in a most amazing fashion. All the stall owners pay a tax for the privilege of selling produce in London streets hereabouts as a ground rental to the Duke of Bedford, London’s largest landowner. Covent Garden and the surrounding streets are his property, as well as the houses which line them, and the enormous rentals pay a truly royal tribute to the wealthiest of Britain’s peers.

London markets in general are perhaps the dearest in Europe. Continental Europe and North Africa are Britain’s market gardens, though the English housekeeper still clings fondly to the belief that whatever is grown in her own country is the best, the shopkeeper encouraging her in this delusion. The catch phrase in the English shop is, “Best English, ma’am,” though the produce may be asparagus from Provence, little potatoes from Brittany, tomatoes from Algeria or eggs and butter from Denmark and Norway. In spite of all this the English housekeeper will readily pay more for produce grown at home than for that which comes from across the Channel, the North Sea or the Mediterranean. This is not because the quality is actually superior, but because it is home-grown, though this may be prejudice quite as much as patriotism.

Covent Garden market has its chief picturesque element in its costers and their environment. The coster in his velveteens with many rows of “pearlies” heaps up his tiny barrow, drawn by his faithful “moke,” and perambulates green stuff through London’s East End, accompanied by his “Harriet,” the couple forming the typical ‘Arry and ‘Arriet of the comic papers. Like most picturesque survivals, modern life is ironing him down to the flat ugliness of the average London type, and his be-buttoned costume is fast changing into the commonplace garb of the British workingman, though his partner still flaunts her hat of bedraggled plumes, which is always in fashion among her kind. She buys these plumes through a “feather club” by paying a weekly instalment. No more unsuitable feminine head adornment for one of her class could be conceived than an ostrich plume, which, by the very order of things, is most unsuitable for the misty, moisty climate of the banks of London’s river.

The coster barrow-vendor buys cheap stuff to begin with, and sells cheaply too, so that his margin of profit is slight, but he will go hungry before his “moke” will, and he treats the little animal better by far than he does his own family when it comes to distributing favours amongst them.

Weights and measures with the English small shopkeeper are queer and untrustworthy. Not long ago a bitter discussion was carried on through the press on the subject, and the defence of the marketman was not a denial so much as an excuse that he had to make up somewhere for the long credit system that prevails among the clientele of all classes of traders. This made for losses which could not otherwise be met.

The cost of living is a factor here which is being discussed in its higher reaches. A scarcity of food of certain kinds accounts for some of this, an extravagant attitude towards life for more, and the actual conditions of luxury and convenience under which the food supply is purveyed in this twentieth century for much more. The thing is noticeable in England, in Germany, in France and even in Italy. There is no monopoly of this state of affairs in America; all classes all over the world are feeling it, but are doing very little that might really combat it successfully.

In England one buys fowls and fish in the same shop. Ice is a luxury that can often only be had of the fishmonger, and as a favour on the part of that usually high-handed individual. Such a small lump as one may get for a few cents melts into a mere spot of dampness by the time it is delivered and seems hardly worth the while. If one buys anything of an exotic nature in England it costs money. To depend upon a purely British home-market bill of fare, on the other hand, is monotonous, for the supply is exceedingly limited as well as to variety as to quantity.

The American Woman Abroad by Blanche McManus

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