TRICK PICTURES AND HOW THEY ARE PRODUCED
_I.--The first attempts at cinematograph magic and the artifices
adopted_
As soon as the cinematograph had established itself firmly in popular
favour, and there was every indication that it would become a
permanent form of entertainment, it entered one field after another of
popular interest. We have seen how the picture play was evolved from
unrehearsed episodes in everyday life; and when the studio-stage became
an indispensable acquisition to the picture play producer, another
movement was created. This was the trick film. The pioneers realised
that the intervals between the exposure of successive sections of
film corresponding to an image offered extreme opportunities for the
practice of chicanery, and the presentation of weird, fantastic, and
mystifying effects.
The trick-film owes its inception to a well-known French
prestidigitateur, Monsieur Mélies. He was among the first to embark
upon the manufacture of film subjects, and it naturally occurred to
him to impress magic into the service of the industry. His first
attempts were of the simplest description. He confined himself to the
performance before the camera of the same tricks that he offered an
audience from behind the footlights.
Having by this means tested the public and found it responsive, he
introduced all the devices known to the “Black Art.” Furniture danced
upon the screen, and moved hither and thither about a room; skeletons
gambolled capriciously; weird displays of “Black Magic” were shown;
all sorts of inanimate objects were imbued with life; dolls and toy
animals and birds were given the semblance of natural action. The films
amused and mystified the public exceedingly, and the Mélies trick films
enjoyed a remarkable vogue.
Meanwhile, Robert Paul in England had been considering the feasibility
of the same idea, but had feared that the personality of the magician
would be missed. Seeing the success of the Frenchman, he decided to
embark upon a similar line of activity. He saw the possibility of
producing far more startling effects than even the most accomplished
and dexterous magician ever could hope to achieve. But the task
bristled with difficulties. The stage had to be overhauled and
equipped with elaborate devices to facilitate sudden disappearances,
apparitions, etc. A workshop also was necessary for the preparation of
the properties, and the character of the work rendered indispensable
the services of an expert magician.
Cinematographic knowledge was in its infancy; and accordingly some
of the methods used in the late nineties seem somewhat involved as
compared with those practised to-day. But it was upon these early
struggles and failures that the present adequate equipment was built
up. Indeed, from the point of view of the audience many of these first
films have never been surpassed.
To describe the methods adopted in the production of every trick
picture is obviously impossible in the compass of this volume, but I
am able, through the courtesy of Mr. Robert Paul, to explain how many
of the strange effects in his most striking trick films were achieved.
The processes most generally practised were the “stop-motion” and
“double printing,” which are explained fully in the next chapter,
but in addition to these methods he devised many others, some of
which have been superseded by easier operations. For example, where
gradual disappearances and appearances were desired, instead of
using a rectilinear diaphragm stop in the lens as is now usual, Paul
occasionally resorted to the chemical dissolution of the emulsion and
image from the film--an intricate and delicate manipulation entailing
considerable time and care, because if the dissolution process were
carried too far or undertaken by unskilled hands, the film was spoiled
and much labour fruitlessly expended.
Sometimes the desired result was brought about by means of two special
detachable stops, which were placed in the lens. Each of these stops
had a V-shaped opening of identical dimensions, and were set at
right-angles to one another. As they were gradually drawn apart the
aperture formed by the intersection of the V-openings through which
the light passed to the film was enlarged, while, on the other hand,
as they were moved towards one another, the aperture was decreased,
until at last the film scarcely recorded any impression of the subject
photographed. The gradual synchronous movement of these two V-shaped
stops was somewhat difficult. To-day their place is taken by the
rectilinear stop in the lens, whereby the same effect can be produced
much more easily.
One of the best and most successful trick films Paul ever produced
was the mediæval mystery entitled “The Magic Sword.” It appealed to
the grown-up because of the astonishing effects introduced, and to
the children for the reason that it provided an intimate glimpse of
fairyland with its giants, witches, good and bad fairies, and other
strange beings not encountered in this world. It was sumptuously
produced, and many of the tricks were introduced to the public for the
first time.
The first scene shows a gallant knight meeting his lady-love on the
battlements of the castle at midnight; a ghost appears, towards which
the knight advances, but it melts from his grasp. A witch rides over
the dark sky on her broom, and the knight in turn endeavours to seize
her, but she eludes his attack and departs, shaking her fist in rage.
An ogre no less than fifteen feet tall thrusts his head and shoulders
over the battlements, seizes the damsel and bears her off through the
sky. The lover is in the depths of despair, but a good fairy comes to
his aid, gives him a flaming sword, and bids him go in search of his
lady-love.
The battlemented castle gradually dissolves into a witch’s cavern,
to which the frightened lady is brought captive by the witch, and
transformed into a second hag. Many adventures follow; finally the good
fairy triumphs over evil, and the witch is converted into a roll of
carpet, on which the lovers float through the air to fall from the sky
upon the lady’s parents while they are banqueting in the castle grounds.
The trick effects in this film were produced almost entirely by double
printing, two negative films being superimposed to make a positive.
The accompanying illustration shows how the appearance of the ogre
was obtained. The scene with the two principal players, the knight
and the lady, first was acted and photographed upon one film. The sky
was a neutral back-cloth with a crescent moon painted on it. Then the
second film was prepared bearing the ghost, the witch, and the ogre
respectively. The spectral effect of the ghost named was realistically
conveyed by under-exposing the second film, so that the stone of
the battlements could be distinguished plainly through the form of
the figure. The ogre was an actor of ordinary height, but as he was
photographed with a short-focus lens from a point nearer the object
than the characters in the first scene, when the print was made he
appeared to be more than twice as tall as the other performers. In this
scene the wall over which he reached was covered with black cloth.
[Illustration: THE MAGIC SWORD: A MEDIÆVAL MYSTERY EXPLAINED.
Scene A was photographed first. The ogre was photographed against a
neutral background upon a second film, B, the camera being brought very
close to the figure. When the two films were superimposed and printed
the startling picture C was obtained.]
In order to get the effect of the witch riding in the sky, Paul
invented a novel movement in the camera, which is now in general use
in trick cinematography. The lens was arranged to be raised or lowered
in relation to the area of film in the gate, but still independently
of the film itself. This was done with a small gearing device whereby,
when the gear handle was turned, the lens was moved upwards or
downwards. The witch astride her broom stood upon the floor of the
stage, which was covered with black cloth, against a background of
similar material. By turning the gear handle of the lens attachment
the latter was raised, until the witch riding on her broom was lifted
to the upper corner of the film and there photographed. Although she
simulated the action of riding through space in the traditional manner,
in reality she merely moved across the black-covered floor of the stage.
[Illustration: A CHRISTMAS CAROL: HOW SCROOGE SAW BOB CRATCHIT’S HOME.
The scene of the Xmas dinner, A, was photographed with the space at
right. On the second film Scrooge and the spirit, B, were obtained.
These two films were placed together for printing the complete picture,
C.]
The strange effects produced in the witch’s cave were obtained both by
double printing and the “stop motion,” as well as by the manipulation
of the stop in the lens. The conversion of the captured lady into a
witch was accomplished by stopping the camera; and while the lens was
covered by the shutter, introducing a second actress, already made up,
who stepped into the position occupied by the lady, while the latter
quickly left the stage. The other actors maintained a rigid position
while the camera lens was closed and the substitution took place. The
conversion of the witch into a roll of carpet was effected in a similar
way. When the “stop” call was given the witch disappeared from the
stage, and a roll of carpet took her place.
The journey of the lovers through space upon the magic carpet was
carried out by the manipulation of the rising and falling lens already
described. When the solution of the baffling trick is given it appears
absurdly simple, but the elaboration of the idea entailed several
weeks’ preparation, combined with hard thinking on the part of the
producers, while the filming alone occupied several days.
Paul’s studio was excellently adapted to producing strange variations
in stature. He could make a giant or Lilliputian at will. The camera
was mounted upon a special trolley, which could be moved forwards and
backwards in relation to the stage over a pair of rails similar to a
railway track. The closer the camera was to the stage the larger were
the figures. A photograph at a distance of fifteen feet presented
people of normal height. But when the camera was advanced close to
the stage the players photographed were of immense stature, an effect
emphasised still further when one film was printed over the other.
By varying the distance between the camera and the stage Paul produced
some delightful results. One picture was called “The Cheese Mites,”
or “Lilliputians in a London Restaurant.” A traveller entered a café
and took his seat before a window. When he had finished his meal
the waiter brought him a mug of beer, out of which, to the intense
surprise of the traveller, a little sailor about six inches in height
climbed and executed a hornpipe on the diner’s plate. The sailor then
went to the cheese, which was about his own height, and produced a
lady therefrom. The sailor and the lass were engaged in an animated
conversation when another little man appeared on the scene. The two men
ultimately quarrelled and there was a spirited contest.
This introduction to modern Lilliput is simple to explain. On one film
the diner and his actions were photographed, the camera being, say,
fifteen feet distant. After this film was secured a second film was
made of the Lilliputians, who, of course, were not midgets, but people
of normal stature. They acted against a background of neutral tint; but
the camera was set about 150 feet from the stage, and a long-focus lens
was used. The consequence was that the figures appeared very tiny upon
the second film, so that when the two films were superimposed for the
purposes of printing the positive the contrast between the diner and
the sailors was strangely impressive, the latter being no taller than
the jug upon the table.
Some very astonishing results can be obtained by this superprinting
operation, either straightforwardly or in combination with the
variation in the photographic range as described in the previous
paragraph. The soldier dying on the battlefield sees his home and
mother in a dream which occupies the whole of one corner of the
picture; there is the vision of Marley’s Ghost, and so on. One of the
earliest of Paul’s simple trick subjects was a film illustrating the
song “Ora Pro Nobis,” wherein the starving, ill-clad orphan was seen to
sink in collapse in the snow outside the church door, the climax being
the death of the waif and the descent of the angel to receive and bear
her spirit heavenwards. This was effected purely by double printing,
the ascending and descending action of the angel being carried out by
means of the gear-operated falling and rising lens of the camera.
[Illustration:
[_By courtesy, R. W. Paul._
“ORA PRO NOBIS” AND HOW IT WAS PRODUCED.
The scene A was first recorded upon a film; then B was cinematographed,
the angel and child being taken against a neutral background. A special
device provided the ascending movement of the angel with the spirit of
the waif. By placing B over A in printing the result C was obtained.]
[Illustration:
[_By courtesy of R. W. Paul._
THE SECRET OF THE HAUNTED CURIOSITY SHOP.
The scene, A, was photographed first, the black space representing
the interior of a wardrobe. Another film, B, was made of the skeleton
against a neutral background. When the two films were superimposed and
printed the skeleton appeared to be imprisoned within the cupboard upon
the positive, C.]
“The Haunted Curiosity Shop” was a well-executed and startling trick
film. A floating skull was transformed into the bust of a charming
lady, while the second half of the body walked in and attached itself
to the upper half. The dealer attempted to grasp his strange visitor
around the waist with a view to stealing a kiss, but to his disgust
the fair damsel changed into a grinning negress. In anger he thrust
her into an old wardrobe, where she became white again. The outline of
the fair prisoner could be seen through the woodwork of the cupboard;
changing first into an Egyptian mummy, then a living Egyptian, and next
into a skeleton. The dealer made a lunge at the skeleton with a sword,
but the weapon struck the breast-plate of a man in armour. The latter
was then torn limb from limb, and the dismembered body was thrown
into a huge jar, from which rose three gnomes, who finally resolved
themselves into one. He was thrust back into the jar, and a dense cloud
of smoke rose, from which the dealer fled in terror, while a large head
appeared from the smoke and advanced towards the audience.
This picture was produced by recourse to “stop-motion” and double
printing. The changes from white woman to negress, mummy, Egyptian,
skeleton, and man in armour, were produced by substitution while the
lens was closed by the shutter. The space indicated by the wardrobe
was a recess having a black back-cloth, against which the skeleton was
photographed, and which when the two negatives were superimposed was
shown to be standing before the astonished dealer. The photographs of
the girl were taken with the wardrobe doors open and well-exposed, so
as to obtain a strong image, which could be seen through the other film
showing the wardrobe doors closed. The dismemberment of the man in
armour was carried out with properties, while the grotesque head was
obtained by bringing the camera within a short distance of the stage
so as to secure an enlarged photograph of an actor made up to suit the
part.
“The (?) Motorist” was an extraordinary example of Paul’s handiwork.
The effects were so startling and the situations so unconventional
that the spectators were sorely puzzled as well as vastly entertained.
The picture opens with a motorist and a lady entering a small
two-seated car. They set off, but presently a policeman attempts to
stop them. He is picked up and dropped over the back of the automobile.
The motorist continues on his way, with the offended emissary of the
law in pursuit. Presently a public-house bars the road, but the car,
on reaching the obstruction, runs up the wall, to the dismay of a
large crowd, and shoots into space. Without a pause it speeds over
the clouds, visits the sun, which it circles calmly, and once more
swinging into space runs over the clouds until it reaches Saturn. The
ring round this planet constitutes an ideal motor track, around which
the automobile rushes in mad glee. Finally it shoots off this unusual
highway and drops through space, to crash into a court of justice.
After striking terra firma in this unconventional manner, the car
continues its journey out of the building, followed by policemen,
magistrate, and other officials. To their amazement, however, just as
they are about to arrest the delinquent it vanishes, leaving in its
place a countryman’s cart, in which a smock-frocked farmer and his wife
are seated. When the pursuers are at a safe distance, the cart changes
back to the motor, and makes good its escape.
The point beyond the comprehension of the public was the journey
of the motor across the clouds and round the sun and Saturn. It
looked precisely as if the planets and the car were viewed through a
telescope. To get this effect models were used. A suitable back-cloth
was prepared painted with clouds, stars, the planets, etc. On the stage
a large model was set up to represent Saturn with its ring. A small
model of a motor-car was prepared, in which two dolls representing the
motorist and his companion were placed, and propelled round the ring at
increasing speed.
[Illustration: Motoring round the ring of Saturn.]
[Illustration: The car circling the sun.
THE ? MOTORIST--A STARTLING TRICK PICTURE.
Both car and planets were small models.]
A model of the sun was suspended upon the stage before the back-cloth.
The model of the car was attached to an arm, which was pivoted to the
back of the sun, like a clock hand, so that the wheels of the model
car rested on the circumference of the model of the planet. This was
revolved, thereby swinging the motor-car round and round, conveying
the impression that the car was travelling round the sphere under its
own power. For the journey through the clouds the model of the car was
photographed against a back-cloth. The idea of falling through space
was conveyed by the manipulation of the rising and falling lens. The
success of this novel trick film prompted many imitations. Working with
models, however, is by no means a simple operation, because, unless
they are prepared and manipulated very skilfully, the deception is
palpable.
[Illustration: THE ANIMATED SWORDS.
The public is mystified by the manner in which inanimate objects
apparently come to life. This picture shows one means of accomplishing
this end. The swords are manipulated by invisible wires, indicated in
this illustration to show method of application.--_See page 209._]
Another of Paul’s films was the representation of a railway collision.
The scene represented a single railway line threading mountainous
country. A goods train came in sight and overshot the danger signal. An
attempt was made to back the train, but before it could reach safety an
express dashed from the tunnel ahead and crashed into the stationary
train, precipitating a scene of wreckage. Carriages, locomotives, and
goods wagons were hurled down the embankment and piled upon one another
by the force of the impact. Many people who saw this film marvelled
at Paul’s good fortune in being on the scene to photograph such a
disaster. They were convinced that it was genuine. As a matter of fact,
the scene of the accident was a field, in which the scenery was erected
with considerable care, and a long length of model railway track
was laid down, while the trains were good toy models. The film only
measured forty feet, as it was designed originally for the kinetoscope;
but its popularity was so complete that it was adopted extensively for
the cinematograph. Certainly it produced forty of the most thrilling
seconds it is possible to conceive, for the disaster was perfect in its
swiftness and wreckage; and the cinematograph film images being less
sharp and decisive than those obtained by a hand camera, the illusion
was conveyed very convincingly.
Scores of trick pictures of infinite variety were produced by Mr.
Robert Paul during his active connection with the cinematograph
industry. In common with other producers of trick films, Paul found
that the time involved in their production was out of all proportion
to the financial results. It was no uncommon circumstance for a
subject approximating 100 feet in length to absorb a week or more of
continuous work. Moreover, his most successful subjects were seized by
American houses and “duped”--as unauthorised reproduction is called in
cinematographic parlance in that country: no copyright law existed on
the subject. Some of the subjects thus exploited met with a phenomenal
success, from which he never received the slightest benefit or even
recognition.