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February, 1952
CHALLIS :
TALES OF HOFFMAN
made to cover the head, arms and legs. A shot was taken of Spalanzani pulling Olympia's arm, the camera was cut, and the arm was covered with one of the velvet bags. The action was then duplicated exactly as before. By cutting at the right moment between the two takes it appeared as though the arm had been pulled off. This was repeated for each part of the body. The doll was gradually enveloped in more and more black velvet until only one kicking leg was visible. This effect was illogical and illusionary, but very effective.
In front of the final scene, where there is a
fight over the doll's head, a gauze painted with impressionistic forms suggesting a dismembered mechanical doll was placed between the camera and the artiste.
Mention must be made of the small sequence in which Coppelius takes Spalanzani's cheque to the bank, only to find that it is dishonoured. The set, in this case, consisted of a small backing on which were painted large inkstains. The bank clerk sat behind a small window covered with ink spots, and the scene was shot through a gauze painted with more ink stains. When the cheque was passed back to Coppelius by the clerk, the lighting was changed to green for
an instant by the utilisation of a dual lighting system and dimmer shutters. This is one of the most effective shots in the picture.
The last scene in Act I was a close-up of Olympia's head, with the eyes still flickering. From the rear of the head a spring appeared. The sound of the spring became the first note of the Barcarole, the introductory music to Act II, and its shape turned into a spiral reflection in the water of a canal. To achieve this, a piece of floor was tilted at an angle in order to allow Miss Shearer to stand behind, with her head visible. Behind her was fitted a device holding the spring. She blinked her
Fig. 4
The Giant Staircase, which was painted on the studio floor and shot from the gantry.
eyes in time with the music and the spring was set in motion. The reflection was then lined up through the camera with the moving spring. In the final picture a lap dissolve was used.
Act II.— The Tale of Glulietta
The second act is the tale of a Venetian courtesan wrho stole men's reflections and so gained their souls. It was a complete contrast to Act I. The impression of a decadent, lustful and romantic city of canals, palaces, gondolas and slime had to be conveyed. This had to be created in a very realistic manner.
A long trough was built and filled with