This photograph records the first meeting of all of the members of the K. M. C. D. Syndicate, September 22, 1895, at Canastota, N. Y. Left to right—H.N. Marvin, W. K. L. Dickson, Herman Caster, E. B. Koopman, founders of the world famous American Mutoscope & Biograph Company, later known to the screen world as “Biograph”.
When Henry N. Marvin saw Edison’s kinetoscope he thought that a simpler machine could be built to present the peep show pictures and do it better. When he and Herman Casler had built the machine they sought Edison pictures to put in the machine.
“No,” was the decision from the Edison plant. Right then and there was the motion picture’s biggest moment. Marvin and Casler had to invent a machine to make their own pictures.
Out of that moment came the force that through a long series of dramatic sequences brought to the motion picture and its world the names of Griffith, Pickford, Sweet, Marsh, Gish, Normand, Nielan, Ince, Sennett, and all that glory that was Biograph.
October 1912. The Itala Film Co. of America, of which Harry R. Raver is the head, will soon issue for the American trade a series of long films composed of two and three reels each. For these special productions a coterie of noted artists have been engaged, prominent among whom are Gina Marangoni, Giuseppina Amici, Berta Nelson and Lydia Quaranta, all of whom are well and favorably known throughout the largest theaters in all Europe. Commendatore Ermete Zacconi, conceded to be the greatest living Italian actor, and perhaps the most prominent in Europe, will be seen in these forthcoming Itala multiple films.
The policy of the Itala Company will be confirmed to the appointment of exclusive agents in the United States, these agents to control certain territory. The first of the new Itala releases is called “Souls in Torture,” and consists of two reels. As the title infers, the subject deals with heart throbs and the bitter problems of life. Several elaborate scenes are unfolded as the story proceeds. A very large cast of players is used. A reproduction of a fox hunt with blooded horses and a fine pack of hounds adds to the exciting features of the story. “Souls in Torture” will be sold
to exclusive state right buyers through the Film Supply Co. of America. The headquarters of the company is at 805 Columbia Theater Building, New York
Scene fantastiche tratte dal celebre racconto inglese: The Babes in the Wood.
Pathécolor, 395 metri circa, bellissima partitura per orchestrina, del M. Louis Blémant.
E’ questa un’antica leggenda inglese svolta in un celebre racconto: leggenda dolorosa e poetica che raffigura lo sgomento di chi si perde nella foresta della vita.
I bambini perduti nel bosco seguono il destino di terrore e di angoscia che il caso ha loro segnato: e alla cieca baldanza con la quale si avventurano nel bosco tentatore seguono le inquietudini e le paure per tutti gli spiriti che si agitano negli alberi fatati.
Questa leggenda infantile, magnificamente riprodotta dal Pathécolor, è una grande fiaba per persone grandi.
La storia:
James Barfield morendo, ha istituito eredi universali i suoi due piccini, Harry e Lilly. In caso di morte degli eredi naturali, tutti i suoi beni avrebbero dovuto passare al suo fratello, lord Barfield.
Spinto dal suo egoismo, lord Barfield decide di sopprimere i due fanciulli, e li conduce in campagna coll’intenzione di mandare a effetto il suo piano, ma dopo infiniti tentativi, non ha il coraggio di compiere l’odioso atto. Li conduce allora in un rifugio di banditi e incarica uno di questi di uccidere gli innocenti.
Il brigante, non volendo avere la morte dei fanciulli sulla sua coscienza, li abbandona nella foresta. Ma la foresta era incantata e sotto ogni albero, dietro ogni roccia, si annidavano dei mostri strani. Degli esseri invisibili agitavano i rami delle foglie. Da un rigagnolo vicino emergevano delle sirene, che con la dolcezza della loro voce attiravano Harry e Lilly, Ma appena si lasciavano toccare, si cangiavano immantinente in piccoli gnomi orribili…
I due piccini, spaventati, si rifugiarono in una caverna, ma anche là una turba di fantasmi danzavano intorno e i due piccini, che sbigottiti e ormai senza forze, morirono di terrore e di sfinimento.
E degli angeli dalla bianche ali, portarono in paradiso le loro animuccie candide.
Il film fu presentato in Francia (titolo originale: Les enfants perdus dans la forêt), Italia, Spagna (Los niños perdidos en el bosque), Inghilterra e gli Stati Uniti (The Babes in the Wood) nel dicembre 1912.
The Babes in the Wood. — Released December 21st. Length 1,270 feet.
The Wicked Uncle schemes to rid himself of the two pretty Babes by endeavouring to throw them over castle heights and offering them cups of poison. Ultimately the Wicked Uncle, feeling himself unequal to the work of murder, approaches the robbers, and the children are dragged off into the forest. The great quarrel between the robbers ensues, and after the fight, the children, deserted by the remaining bandit, find themselves alone in the Enchanted Forest. Adventures follow upon each other with startling rapidity. They become wearied, however, by their exhausting wanderings through the thick forest, and when they reach a great cave it is peopled with ghosts, and the boy once more is called upon to fight for his life and that of his sister.
His strength is no longer equal to the task, and death comes to him just a few moments after the girl, having heard the call of angels, glides away into the Children’s Paradise. Her brother comes to join her, and midst the brightness of flowers the children pass on to join in the merry gambols of other tiny folk. (da Cinema news and Property Gazzette, London, December 1912)
Copia nell’Archivio del Cinema Muto (archivio inpenombra).
sempre in penombra 