The Film Index (Jul-Dec 1910)

THE FILM INDEX ra — M' , II— ti— *arn= , ^irr if=c=ii— ,—i =|| , n ||= ii i—i_if===1 "A SIMPLE RUSTIC TALE" A Delightful Subject by Gaumont. 3E 3E 31 JAS. S. McQUADE I MUST confess that as the weeks and months past the Gaumont product makes a constantly growing appeal to me. And this statement is made in an altogether unprejudiced state of mind, and is based on whatever critical knowledge of pictures I may possess, however circumscribed that may be. While I think Gaumont turns out too many scriptural subjects, I must at the same time compliment the firm on the magnificent efforts made in that line. The great wealth of costumes and scenery displayed, and the stately pomp and pageantry of long by-gone days revealed in many of the films, fairly dazzle the eye and compel one to reflect on the scholarly study and ripe knowledge required to produce them. The story is compelling, the photography excellent and the acting finished. I cannot remember when I have seen another film run off that offered such finished character acting as is to be found in the filmed scenes of this bucolic story. And the costumes and surroundings are all there, in perfect harmony with the characters. The story is laid in France — in Brittany, I believe — and the scenes are botb picturesque and instructive, portraying, as they do, rural life in that country. Dupont and Durand, two farmers, are near neighbors. The one has an only son, the other an only daughter, and the young people are engaged for marriage. It is nutting time, and while the lovers spend their Sundays in the woods, their fathers are playing cards and their mothers are chatting and gossiping. his wife to accompany him home and to sever friendly connections with the Durand family. Then he goes off to find the lovers, and interrupts their blissful reveries by a raucous command to his son to leave his sweetheart forever. And we see the timid youth shrink before his father and leave his promised bride to weep over the blight that has come to her happiness. But the lovers are not so easily parted. There are midnight and other meetings at which they re-pledge themselves. Durand discovers them during one of these clandestine love feasts and gruffly bids young Dupont to be off, while he raises his hand threateningly to his daughter as he orders her home. Love, however, still continues to find a way and places for meeting until the climax comes. That arrives when young Dupont comes home late one night, and his father, suspecting the cause, refuses him admittance and commands him to leave. The lovers, however, are not friendless, for they have in their mothers staunch allies. Mother Durand has a ready wit and, knowing her husband better than he knows himself, she plans to bring reconciliation between the families. She counsels her son to disappear, and arranges a hiding place for him in an unused building on the farm, where she supplies him with food. One other knows of the youth's whereabouts, and that is his sweetheart. Now we see the elder Dupont moving around his farm, and noting here and there evidences of the work of his banished son. And we see the gnawing at his heart by the pained and ■j SCENE FROM GAUMONT'S "A SIMPLE RUSTIC TALE." The fine photography so uniformly shown in the Gaumont films is worthy of all praise. Indeed, it affects the eye much in the same way that sweet music does the ear, or as the harmonious flow of inspired poetry delights the mind. There is clearness without glare, and there are depth and shade contrasts without gloom. Moreover, there is a stereoscopic quality about the Gaumont product that makes one almost believe that he is viewing solid forms and objects instead of their reflection. M ^c" rV^tjIb ^k i s h SCENE FROM GAUMONT'S "A SIMPLE RUSTIC TALE.' SCENE FROM GAUMONT'S TALE." 'A SIMPLE RUSTIC In "A Simple Rustic Tale," which I viewed in George Kleine's private exhibition room last week, I can promise, without any fear of disappointment, a delicious treat for picture lovers. We see the Dupont family making a call on neighbor Durand, and watch with interest the meeting of the lovers. The latter soon leave the old folks to themselves, and while the women engage in conversation, the men are seen playing a game of cards. It is evidently a well contested game, for both men are deeply absorbed in the issue. Suddenly Dupont jumps to his feet and seizes the cards in Durand's hand. Counting them he shows that Durand holds one card too many, and then, shaking his fist angrily in his neighbor's face, he calls him a cheat and a knave and rushes from the room. The old ladies, happy in their cronying, are dismayed by the appearance on the scene of the angry Dupont, who, unceremoniously orders sad expression on his face as he thinks of his absent boy. His melancholy grows daily, and although he is too proud to confess his condition to his wife, that knowing woman sees and understands just as well as he. One day he sits forlornly in the barnyard, deeply lost in thought, when his old neighbor Durand passes. The latter sympathizes with the sorrow of his old friend, but hesitates to let his presence be known. His better nature Anally prevails and he offers his hand in friendship. The two mem immediately become reconciled, and they are soon joined by the wives and children, all beaming with the joy of great happiness. Ths final scene is notable both for photography and easy, natural posing.