Directed by: Charles-Émile Reynaud
Pauvre Pierrot (Poor Pierrot) introduces another character to the pantheon of film pioneers: Charles-Émile Reynaud.
Not only did he invent the Praxinoscope in 1877, he improved upon it over the years, eventually resulting in the Théâtre Optique in 1888. The device was capable of large-scale projection and was operated from behind the screen, usually by Reynaud himself. Two images would be projected simultaneously: animated characters and a static background upon which these were superimposed. The projectionist was able to influence the speed of the production and repeat movements. To perform these manipulations and for image stability, Reynaud introduced film perforations which would become a standard in moving pictures (though he used gelatin squares rather than film for his productions). Screenings would be accompanied by live music and dialogue performed by assistants. Whereas most films at the time ran for a couple of seconds, Théâtre Optique stories could run anywhere from 10 to 15 minutes– and in color!
Pauvre Pierrot consists of 500 frames and is largely considered one of the first animated films ever screened to an audience. It premiered on October 28th as part of Reynaud’s Pantomimes Lumineuses at the Museé Grévin alongside two of his other animations: Le Clown et ses chiens (The Clown and His Dogs, 1892) and Un bon bock (A Good Beer, 1892).
Unlike its live-action contemporaries which consisted of documentary scenes, Pauvre Pierrot weaved a narrative. It tells the story of two men vying for the love and attention of a woman. We are first introduced to a masked figure who scales a wall and surprises a woman in the courtyard. Their close relationship is quickly established through physical proximity and him putting his arm around her. The moment is interrupted by a rapping at the door, upon which she instructs the man to hide and remain quiet. Another suitor arrives, with whom she remains at a distance and more formal. He leaves, only to return some time later, taking swigs from a bottle. He begins to serenade her. A villain is established, drunk and harassing the maiden. The masked man covertly plays a number of tricks on him and scares him off. After a celebratory dance, he is invited inside.
With time came new technological advancements and the popularity of the Cinematograph marked the end of the public’s interest in the Théâtre Optique. Depressed, Reynaud took a hammer to his device and destroyed most of his works by throwing them in the River Seine. He died in poverty in January 1918. The two surviving works that now serve as his legacy are Pauvre Pierrot and Autour d’une cabine (Around a Cabin, 1894).
Bibliography
Ettleman, T. (2017). ‘The First Animated Film Is Beautiful’, Tristan Ettleman, 5 January. Available at: https://trettleman.medium.com/the-first-animated-film-is-beautiful-c8706d2b19f3 [Accessed: 21 November 2021].
Herbert, S. (n.d.). ‘Charles-Émile Reynaud’, Who’s Who of Victorian Cinema. Available at: http://www.victorian-cinema.net/reynaud [Accessed: 21 November 2021].
IMDb contributors (n.d.). ‘Pauvre Pierrot (1892)’, IMDb. Available at: http://www.imdb.com/title/tt0000003/ [Accessed: 21 November 2021].
Myrent, G. (1989). ‘Emile Reynaud: First Motion Picture Cartoonist’, Film History. 3 (3): pgs.191-202.
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