Le mystère des roches de Kador (1912) |
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| The Mystery of the Rocks of Kador |
Director: Léonce Perret Guion: Léonce Perret Reparto: Suzanne Grandais, Léonce Perret, Émile Keppens, Max Dhartigny, Jean Ayme, Marie Dorlyi, Louis Leubas. Duración: 44 min. |
A young woman stands to be disinherited from a will should she either go insane or join a convent, in which case all the money would be left to her cousin. After she rejects his amorous advances, he plots to shoot her lover, frame her, and in the process drive her irreversibly insane. And it would have worked, except for a crafty detective who films a recreation of the crime scene and shows it to the young woman in order to bring her out of the amnesiac trance. - Código: Seleccionar todo
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DVDRip VI: Le mystère des roches de Kador.avi [470.04 Mb] |
Subtítulos en español traducidos por Federico1921:
Termino con el mini-ciclo Léonce Perret con esta película, que es otra joya. Por las capturas, podréis comprobar cómo le gustaba a Perret (aquí también actor principal) rodar en exteriores naturales.
- El director francés
Henri Fescourt, coetáneo de Perret nos habla sobre este film:
"Like all directors of that time, Perret left much space for exteriors: streets, parks, woods, beaches, mountains. At a time in which attention was given only to the landscape value of locations, it seemed as though Perret attempted to harmonize places and emotions. Though he sometimes fell into making picture postcards, some of his shots were quite suggestive: in Le Mystère des roches de Kador, he successfully evoked the tragic nature of the Breton seascape, spiked with jagged black rocks. When making films with precise historical or geographic settings, he sought to get as close as possible to the real places. This normal sort of accuracy was, at the time, considered idle nonsense".
Henri Fescourt, La foi et les montagnes ou le Septième Art du passé, Paris, Montel, 1959
- El crítico alemán Olaf Möller sitúa esta película en la lista “15 essentials 2004”, publicada en sensesofcinema.com
- Esto comenta Jonathan Rosenbaum sobre Perret:
“For me, even though I’ve only seen a smattering of his work so far, Perret is one of the undiscovered giants of French cinema during the teens–as important as Bauer is to prerevolution Russian cinema…”
- Análisis de Mike Grost:
- Spoiler: +
- Le mystère des roches de Kador / The Mystery of the Rocks of Kador
Le mystère des roches de Kador (The Mystery of the Rocks of Kador) (1912) is a thriller. SPOILERS ahead.
Ancestors
Its initial setup, an innocent young heiress menaced by a sinister guardian everyone regards as respectable, already had a long history by 1912. One might cite Uncle Silas (Joseph Sheridan Le Fanu, 1838, 1864), although that tale's sinister uncle is less innocent looking than the one in Le mystère des roches de Kador.
Detection and Mystery
Professor Williams is an alienist, not a detective. But his enthusiastic use of high technology, such as motion pictures, links him to the Scientific Detectives popular in that era. He is also a "high energy" figure, also like such scientific sleuths as Arthur B. Reeve's professor Craig Kennedy. Apparently, technologists were viewed as dynamic, go-getting men, far more enthusiastic and energetic than less progressive people.
The audience always knows everything about the crimes in Le mystère des roches de Kador. The viewers know who the villain is, and watch his schemes unfold in detail. However, the other characters in the film do not. To them, the situation is mysterious. The boyfriend has to do real detective work to uncover the truth about the crimes.
Deep Focus
There is a nice pan across what seems to be a porch with the heroine, near the start. When the camera reaches the right, we see a large landscape view with water in the background.
The film's last shot is intricately staged. From a room with the heroine, we see outside over a balustrade into a yard - and once again, through gates in the back of the yard. These open, and the hero comes through. Then there is a pause, and he reappears inside the house.
The costume party near the end, is mainly revealed through a slim gap in a curtain: a nice effect. Eventually, the curtains are opened, and we see more of the revelry.
Porch
Fairly early, we see a porch of the villa. There are steps going down, and we see both the lower ground level and the upper porch level. There is also a striking round part of the building, in the upper left of the frame.
A somewhat similar porch with steps connecting ground and porch, will appear in the thriller L'X noir (The Black X). There the disguised villain in his X-costume will draw an X on the building, while standing on the porch.
- Por último, Kevin Wilson:
- Spoiler: +
- And now to the other country where cinema was developed. Léonce Perret may not be as well known as his contemporaries, Mélies or Feuillade (with whom he worked) but for many, his contributions in pioneering cinematic techniques and ideas are just as important. Perret was certainly amongst the first group of avant-garde film makers who used unorthodox methods and set new standards for film making. Features of his work are outdoors photography, backlighting and innovative use of camera angles, which certainly at this time put him streets ahead of say, D.W. Griffith, whose techniques by 1912 were very primitive. ‘The Mystery of the Rocks of Kador’ is a self-referential film that includes cinema as a concept at its very heart. The director himself plays the part of Fernand de Kéranic, who poisons his ward, Suzanne, and shoots her would-be lover, Jean, in order to claim an inheritance. When they are washed up on the shore together, she’s become catatonic and he is too wounded to be of any use to the police. The mystery is solved by the police, led by the maverick Professor Williams, “filming” the incident as a reconstruction and then showing it to Suzanne, who is then cured of her condition. It’s a neat visual trick and in-joke, and considering cinema at this point was still incredibly young, Perret was certainly ahead of his time, using it as a means of exploring more unconventional and experimental ideas. After a short-lived excursion to Hollywood in the late 1910s, Perret returned to France to consolidate the future of French cinema. Unfortunately he died shortly after the sound era commenced. (http://intogreatsilents.wordpress.com/2010/02/19/the-mystery-of-the-rocks-of-kador/)
También os dejo un pequeño documental sobre la figura de este director, en el que podremos ver fragmentos de algunas otras de sus películas. El vídeo está en inglés:
Leonce Perret extra.avi [200.02 Mb]
Saludos.