Carmencita

Carmencita (1894)

*** 1/2 (out of 4)

Infamous Edison short, which features the title dancer, quite famous at the time, doing one of her dances. The film runs only 24-seconds but who today could really imagine how much trouble this film would get into with such a short running time. The movie was famous because it came under a lot of censorship issues wherever it would be played. The most famous incident happened in Boston where it was pulled from theaters after a preacher complained that it was sinful. We only see a brief bit of the dancer's leg (below the knee) so that should tell you something. There's certainly nothing great here but from a historical standpoint this is a very important film.

"Carmencita" was not only one of the first vaudeville acts Edison filmed for his Kinetoscope ("Sandow No. 1" was the very first), it also appears to contain the earliest appearance of a woman in an American film. Of course, this did not make her the first known woman to appear in motion pictures period; don't forget, Louis le Prince had shot the first celluloid film as early as 1888, and that short contained two women. (Although if Edison had completely succeeded in proving his company to have invented the first motion pictures, he no doubt would have attempted to erase that landmark from history altogether and given himself the credit). Not only that, it also began a new genre in the Edison studios: the famous 'dance' genre, one of the biggest things the company is remembered for today.

Like the various boxing movies created from 1891-1895, the different dancers Edison hired to perform in his studio also became quite popular and frequently filmed. There was Annabelle Moore, the well-known serpentine dancer (who deserves a genre of films herself considering she did at least three different acts for the studio). Fatima the muscle dancer (don't be fooled, she was actually a belly-dancer) also falls in this genre. And don't forget Amy Muller, who specialized in dancing on her toes, and the Sarache Sisters with their imperial Japanese Dance. Even the Indian dances recorded by Edison in 1894 could count as being part of the 'dance' genre. (I could go on). In this case, the dancer of the title who started it all (real name Carmen Dauset Moreno) is shown to be performing a routine she had been practicing since February 1890 (funnily enough the year Edison began experimenting with motion pictures) at Koster and Bial's Music Hall, New York City. Involved in the choreography are twirls, kicks, spins, and at the end, a bow. Lasting at only 21 or so seconds, the film here presumably documents an excerpt instead of the entire thing, which would have run on much longer.

Finally, there's one more thing that this film is important for: it was one of the earliest films that began discussions of film censorship. With a dancer who constantly shows her ankles and legs, how could anyone not object? And that's not to say it was a shocker the Edison Co. produced such naughty material for the first time; violence and sex would sadly enough become a common trend among the company. The first such film to cause people to raise their eyebrows was probably the aforementioned "Sandow No. 1", which featured plenty of skin and was no doubt a temptation to women. Continuations of these naughty film elements include the "Cockfight" films, the said boxing films, further entries to the dance genre, and the notorious "The May-Irwin Kiss" of 1896.

This is the first movie in what quickly became one of the most popular genres in the earliest years of motion pictures. Many of Edison's earliest Kinetoscope films featured popular dancers, the best known probably being Annabelle (Whitford) Moore. But "Carmencita" was the first such feature and, as best as anyone has been able to determine, the dancer herself also became the first woman to appear in an American-made movie.

The dance routine itself is similar in style and quality to most of the other movies of its kind and era. The completely dark background makes "Carmencita" herself the full focus of attention. Her appeal is said to have been based as much on her energy and fervor as on her actual skill in dancing, and even with the limitations of 1890s cinematography, it's easy to tell that she is enthusiastic about what she is doing. Her stage routine was probably even livelier.

It's not hard to guess why this kind of movie was so popular in its time. This and similar features could provide something worth seeing within the very limited running time of the earliest movies. Some of the later movies of popular dancers display more film-making experience, but "Carmencita" got the genre off to a lively start.

This film is part of the series of short Edison films featuring circus and vaudeville acts. Subject in this movie is the American dancer Carmencita. She was quite popular as a dancer at the time and a much asked painting subject for painters. She was also the first every woman to appear in front of the camera in an Edison film, which also makes her the first every woman to appear in an American shot movie. But that's about as historically interesting as this movie gets.

The image quality isn't the greatest but the movements look at all times smooth and that's of course what was most important for Edison and Co. at the time. Camencita shows some twirling, with kicks and high arm movements. Her arms got out of the frame at times and the camera also didn't seemed to be steady. Perphaps it was standing on the same stage as Carmencita was dancing on, which caused the light camera shaking?

Interesting for those wanting to check out the early Edison Manufacturing Company films, but it's nothing too great or significant.

6/10

http://bobafett1138.blogspot.com/

This short film was included several years ago in a documentary about Thomas Edison and his early movie-making experiments. It's timeless - an absolute classic!

The video itself is jumpy and splotchy, and primitive by even the earliest silent film standards. But by anyone's measure, the dancer is amazingly good, and this peek into the distant past is well worth watching, if the opportunity arises.

It would be nice if someone put together for commercial sale a collection of very early experimental film projects like this one. Few are likely to be as fascinating as this, but it's amazing to see how dramatically video technology has changed - and how relatively little change there has been in our entertainment preferences.