L'Arroseur arrosé

L'arroseur arrosé (1897)

If you go through the films that were made during the 1890s you'll notice that there was a style of comedy that several American comedies did as well as this one from France. Basically the joke is that someone will have a water hose and will be watering something. Someone else will step on the line causing the man to wonder what's going on. He then places the hose to his face, the other man releases his foot and bam. Someone is wet. This here has to be the fourth and fifth film that I've seen the same gag play out. Is it funny? Not really but at the same time it is interesting seeing so many different companies trying to the joke.

The Sprinkler Sprinkled (1895)

*** (out of 4)

This early film from Louis Lumiere is considered by many to be the first actual comedy ever made. At just 40 seconds we see a gardner watering some plants when another man steps on the hose. For the laugh, the gardner looks straight into the hose to see what's wrong and..... Well, you know what happens. I must admit that this "comedy" actually does work and I'm going to guess it happened by accident by the timing of the two men is actually quite good and especially the gardner. His reaction to being sprayed with water was extremely funny and his chace is also quite funny. Again, there's certainly nothing ground-breaking here other than the fact that it was the first comedy and that it actually works.

Louis Lumiere concentrated mostly on making slice-of-life movies during his 1895 filming with his newly invented camera, This is one of the few staged comedy skits that he produced and was made outdoors with his highly-mobile Cinematograph. A loose translation of the title would be "The Gardiner is Hosed." As scripted: a boy steps on a hose stopping a flow of water. The gardener looks at the hose end as the boy lifts his foot allowing the water to flow full force into the gardiner's face. The gardiner chases, catches and drags the boy before the camera to give him half-hearted, almost-comical spanking. Boy leaves and gardiner continues his watering chores. Strangley enough this simple comedy was re-filmed, during the next year, by other filmmakers in England. For another of Lumiere's comedy skits see "The Transformation of Hats" which starred Felcien Trewey, an English vaudeville actor and friend of the Lumieres, who appears in at least three of Louis' movies.

L'Arroseur Arrosé is a cry from the depths of the proletariat for social emancipation, whereby the disenfranchised masses represented in a life-justifying performance as the Boy can only find justice through subversion and revolution. Indeed, the conclusion of this epic drama can been seen as a confirmation of the inherent violence in a Hegelian dialectic of class conflict; the chilling figure of the Gardener (a possible reference to ecclesiastical authority?) viciously suppresses the rights of the Boy to self-expression. The perennial nature of this conflict is undermined when both parties rush out of the "garden"; no resolution is possible except mutual annihilation.

Or, it could be a piece of light-hearted fun, as Lumiere recognised that the novelty of seeing pictures of factory workers and trains moving was wearing thin, and needed to be backed up with plot. It'll raise a smile for a few seconds, as a memento of an age with less demanding audiences.

This Lumière classic would always be worth seeing simply for its significance as a pioneering effort in using motion pictures to tell a fictional story. It also retains its interest as a brief but amusing story in itself, which sticks in your mind despite its simplicity.

The old practical joke with the hose, which forms the premise of "L'arroseur arrosé", is one familiar to almost everyone, since we've all either played it on someone or had it played on us. Maybe that's one reason why, as light as it is, this works pretty well despite the relatively simple technique. Another reason is that the opening situation is set up well, establishing a peaceful scene of a man watering his garden, before the main action begins.

For such an early effort, it's carried off quite well. Once the action gets going, you can see that the actors are a bit self-conscious of the camera's location, and there are a couple of brief awkward moments as a result. The man playing the gardener, though, is very believable in his responses to the situation. And anyway, this little movie is almost beyond a critique, in view of its good-natured energy, not to mention all of the later ideas that grew out of this simple footage.