Educational film magazine; (19-)

"•=«"- f-ubii. ui ^rmty experiment, is certain to become a permanent feature in the lec- ture hall of the Louvre. Professors of art and art teaching who were present, agreed that the beauty of an architectural design, a grand monument, is never so much in evidence as when one can turn about it. The flat picture, the common lantern slide, though providing an illus- tration gives but a "lifeless" impression. The student, perhaps wearied with gazing constantly at the same image while endeav- ouring to grasp the deeper side of the instruction, and though he may admire the beauty of an object because it is in his nature to do so, his imagination is not fired as it ought to be. Hence it .s M. Reinach's intention to illustrate all his future lectures on historic architecture by means of documentary and travel films. The Theory of Relativity and the Cinema Of all scientific questions exercising the minds of French scien- tisU at the present moment, is that of Einstein's theory of relativ- ity. Whole columns have been devoted to it in the newspapers, and it was the subject of one of the most learned discourses of recent times given at the Sorbonne by M. Painleve. Einstein has fven. entered the realms of "popular science," and the magazines have taken up his theory. Yet, despite all this, the French film promised, to illustrate certain demonstrable facts proclaimed by Einstein, does not come forth. Probably before it does there will be shown in Paris (at one of the scientific institutions) the film now being made by the Colonno-Film-Gesellschaft under the direction of Dr. Fanta, of Prague, Rudolf Laemmel, of Zurich, and Nicolai and Otto Buek. This film is being specially prepared with a view to general distTSbution throughout Europe, and Paris is to be made the center for "tam-tam"—which means the rousing-up of people in- terested and the creation of much talk and free publicity, of course with a commercial end in view. The "scenario," if one can call it such, is being prepared in such a way that while the film will remain a scientific one, its understanding by the gen- eral public will not be too difficult. It is rumored that certain scenes are to be made in Paris. L'Agonie des Aigles, Napoleonic Film by M. Bernard Deschamps What is probably the most accurate and finely detailed film reconstruction of the last phase in the life of Napoleon, is going to be shown in Paris during December. A few uncompleted por- tions were presented to an audience at the Trocadero a few months ago, during the celebrations of the Centenaire of Na- poleon; and they won unstinted praise. The whole of this film, which is built upon a scenario made from the book "Les Demi- soldes" by Georges d'Esparbes, keeper of Napoleonic relics and curator of the palace of Fontainebleau, is the work of a well-known French film producer, D. Bernard Deschamps. The role of Na- poleon was played by Severin-Mars, and the others in the cast comprise members of the Comedie Frangaise. All the principal scenes were taken at Fontainebleau, and the film took several months to arrange and produce, and that at an enormous though unavoidably cost. The whole of the undertaking was financed by a private bank, which has since gone into liquidation, which proceeding necessitated the holding-up of the film ever since the nature of its splendour was revealed in the fragments shown at the Trocadero. Bernard Deschamps has made his film not only a big entertain- ment, but an historically accurate account of the abdication of Napoleon at Fontainebleau and of his final days at Saint-Helena. Some of the pictures differ rather from the popular conception of the last days of Napoleon; but the accuracy of the scenes de- picted are vouched for. The most magnificent scenes are un- doubtedly those within the throne room at Fontainebleau, and the pathetic farewell of Napoleon in the courtyard of the palace, at the bottom of the famous horse-shoe staircase. Already several very high authorities upon education have stated their approval of the film as a medium for teaching history; and I hope to be able to give some more useful details of information about it after its official presentation. Already, I understand, the editing, for the British and American market, with subtitles in English, has been done by Mr. Richard Garrick. LoiE Fuller's Film of Carmen Sylva's Fairy Tale If a film of fantasy can be classed under the heading educa- tional, most certainly The Lily of Life, iiom the fairy-story by H. M. the Queen of Roumania (Carmen Sylva), is such. The scenario has been written by Miss Loie Fuller and M. G. Sorere, and the film is onet of the most delightful fantasies one could imagine. It is not at all a grand spectacle; it is purely and simply a fairy-story, and like "Peter Pan" (though of a very different order), is alike suitable for young and old. All manner of photographic tricks have been indulged in, and it is even reported that some of the negative is used as though it were positive in order to produce a fairy-like effect. It may or may not be appreciated by the cinema-going public, and I say this in order to warn those whom it may concern Although fantasy in the theater and cinema is admired here to a certain extent anything of the mawkish order (such as is associated with such spectacles as Maeterlinck's "Blue Bird" or "The Betrothal") will not be tolerated. Spectators are not carried away by enthusiasm for any dramatic piece whatever; but for the art of the actor or actress, or for the brilliant execution of the music. Producers of spectacular films or films of the mystic or supernatural order must remember that even Griffith's film Intolerance was a failure here (a re-edited portion, called Charity, is being tried out now), and so much scornful laughter greeted Houdini's Master Mystery that it had to be withdrawn. To adapt Carlyle's words, a French- man may have his head in the clouds for a while, but his feet are always firmly on earth. It is a note of warning which may save a lot of futile exportation. The Paris Fair Filmed With a view to making known the Foire de Paris, and the manufacturing resources of France as illustrated it, a film of two hundred metres has been made by E-J-V. Lucet, and passed for public exhibition by the Prefet de la Seine. The film, purely documentary, will serve primarily to demonstrate the value of the Fair as a business centre; but it is in no sense a demonstration of actual manufacture and processes or inventions. "Pure Milk" Propaganda Film, by the French Milk League For the purpose of teaching the public the value and use of pure milk, the Ligue du Lait (19 Rue de Sambre-et-Meuse) has had a special film produced, showing the science of cow-keeping and the preparation of milk for public use. I have not seen the film; but understand that it includes instruction in how to keep milk after purchase, infant feeding, etc., etc., and is destined to be shown in schools and domestic training centres throughout France. Probably, as in the case of the Child Health Society's film (mentioned last month) the milk film will be offered to cinema proprietors who will give an undertaking to show it. 17