Le Courrier Cinématographique (Jan 1921)

30 LE COURRIER CINEMATOGRAPHIQUE 7 = = = ol = = = = = = = = = = o = = = = = = = = = = = = o = ol = = Q = o ol ol o = = = o = = o Q = = = = on = = = = = = = ol = = = ol = n n a = = = = = Voulez-vous faire réparer et d’une façon irréprochable, vos appareils cinématographiques par des ouvriers consciencieux el de la partie Adressez-vous au MÉCANIC-CINÉ Félix LIARDET 17, Rue des Messageries, 17 (10°) Travail exécuté exclusivement par des ex-mécaniciens de la Maison CONTINSOUZA APPAREILS DE TOUTES MARQUES REP LLLLEEEEEPPEELELELLELLELELELLLLS Pabpe-csneseneunseseussusnemus| ÉEPITIILOOE EEE EEE EEE ELLE LELCLLELECELERERE LEE RER LES The French Film World Sc sc Natural colours on the Screen. We had this week the « primeur » of a novelty, a film of much interest — La Villa des Fleurs — produced with great talent by the young producer M. Ryder. This picture was presented to a small audience at the « Chambre Syndicale de la Cinématographie ». The film, a fine production, with many fine scenery a lovely comedy-drama, is the realisation of the natural colour photography applied to the motion picture. M. Hérault the inventor of the process is most confident in the futur of his invention. As à matter of facts it can be regarded as a revolution to the kinematograph art. The great advantages of this process as it Was described by M. Hérault are founded on its simplicity and on its practicable commercial adaptation. An ordinary camera, and ordinary negative film can be used to take natural colour photography with M. Hérault process and it can be runned through any make of projector. Whithout need of altering anything in their mecanism. La Villa des Fleurs beautiful settings and pretty colours catches the eye and transport the spectator mind to the sunny days of springtime. It is a real surprise to learn the picture was produced some weeks ago by a very dull light in the country round Paris. A misdty weather, the winter season with grey skies wound the northern part of France, does CHARBONS SIEMEN not seems to affect the freshness of the photography, it succeed where the plain black and white picture-taking would have failed. The process is based. I was told, on the simultaneous running of three pictures, backed with a coloured screen, the taking and the projection of the film must be slightly increased in speed. The results and effects are grands and quiet artistics. British Films For the French Market. Our « confrère » Mr Victor Marcel of The Bioscope gives us à very interesting note on British Film and french taste : I wrote some time ago of the necessity of correct detail in film production. An incident which occurred the other day is my excuse for returning te the subject. : One ofthe best-known renters here was discussing with me the worth of British productions which, whatever may be said to the contrary, are not considered over here as being in the same street as American reels. I reiterated what I have grown tired of reiterating, i. e., that the best British productions are not appreciated simply because English firms are so utterly devoid of initiative that the French public never get a chance to see the good ones. « Well », said the Frenchman, «I certainly would not buy a reel on the strength of an advertisement which showed such detail as these » and he handed me an issue of a cinema journal. There I saw, alesTa double page advertisement, in which, without hope of mistake, was a photograph of a prize-fighter wearing modern boxing gloves. Now most educated Frenchmen know as well as we do that boxing gloves were not used in fights until about half a century later than the period filmed. But this wass not all. My Frenchman lhanded me another copy of the same journal. And again, there was no getting away from it, were two young gentlemen with most utterly modern brushedback hair that did not even lack a fancy wave, and we were to believe that they were Roundheads! This utterly and unforgivable lack of correct detail makes the British film advocate’s task very hard, and a rather disheartening one. By PIERRE A. D'URVILLE Établissements L. AUBERT 124, AVENUE DE LA RÉPUBLIQUE —— Agents Généraux À ———————————_——