Barque sortant du port

This film can also be found in its original French title, Barque sortant du port (1895). Most film historians put the start of movies at the end of 1895, when the father of the Lumiere brothers showed ten of their films to a paying audience, in France, in late December, 1895. However, the Lumiere's had produced a couple of other films they made throughout 1895, that would be shown later that year to test audiences, but in all reality, probably weren't released for paying consumption until winter of 1896. In any event, Boat Leaving the Port (1895), remains part of the small group of motion pictures, that came from the year 1895. I saw some colorized versions and restorations of this film on YouTube, that looked pretty good.

The framing for Boat Leaving the Port (1895), is charmingly interesting. It makes the women on the dock look like they are out floating in the water with the men in the boat. The dock looks like it's cut off from the land, but then the women walk off of it, off camera. At the same time, waves make it difficult for the men in the boat (apparently all the actors in this documentary-like recreation are members from the Lumiere family). After the camera stopped rolling, history does not mention, if anybody fell out of the boat. This film shows the ability, that the camera had in capturing the energy of our world. It also shows the beauty of framing, that these pioneers were already mastering. It also shows how far we have come, in our attempts to tame Mother Nature. It is a beautiful moment in history.

9.5 (A MyGrade) = 9 IMDB.

This Lumiere film is not one of their very well known efforts, but it's included on the "Movies Begin" set. The commentator on the soundtrack of the set explains that when the Lumiere's shot their first subjects they used 50-ft lengths, thus the films would "end" very suddenly. This explains why we actually never see the boat disappear from the screen. Instead we are left in suspense when a large wave tosses it.

This is fairly bland to watch but as some other reviewers have pointed out the photography is great and the movement of the waves is effective looking. If you saw this on a large movie screen you very well might feel as though you are right there watching. It helps also that the footage survives wonderfully and the picture is extremely sharp. If you're new to the Bros then this is a nice place to start because of the photography. It's pretty bland all-in-all but looks great anyway.

This is a pleasing little feature from the earliest years of cinema, with a nicely planned camera field that catches action both in and out of the water. The motion of the waves, and to a lesser extent the strokes of the oarsmen, result in action that is lyrical, almost rhythmic.

As with so many of the pioneering Lumière features, it displays a very nice choice of material, whether by careful design, by a good intuitive feel. or by a combination of both. The motion of the boat on the water is balanced very nicely by the movements of the small group of women and children at the water's edge. As, again, with a good number of these very early features, it bears watching a couple of times. The boat is what grabs all of the attention at first, but the other half of the scene is also worth noticing.

The artistic-looking setting would have made a worthwhile subject for one of the great French Impressionist painters of the era. It is also the kind of nicely photographed little scene that would not have seemed out of place if it were used as footage in the middle of a feature made in a much later era, since it holds up very well. The very brief footage also leaves you with a little curiosity, since it has shown you a small, simple, but far from dull piece of the lives of these persons. It accomplishes its aim, and is pleasing to watch.

this is possibly the most beautiful of the early Lumiere shorts. A boat rows from the front of the screen away from the audience to the back, while to the right, women wait on the port. The camera, as usual, does not move, but the play of sunlight on the waves are gorgeous, and the rippling movement is so vibrant, especially within such a static frame, that it looks like one is watching an actual scene behind glass.

As with 'Demolition d'un mur', the real frisson of the film comes from the unexpected. The scene proceeds as expected, the boat moving steadily along. But, just as it turns, a stronger wave lunges, and almost capsizes the boat. Before we discover what will happen, the reel, and the film, ends. These early films made no precautions for the necessity of extra reels.

But the effect is quite shocking. The unexpected violence is unsettling enough, but with the film over, and loose ends nowhere near being tied up - indeed, just initiated a narrative, in the dying seconds - the audience is left agonising in the dark. What happened next? Inadvertently, the audience is required to imagine for itself, imagine what's not capable of being represented by the cinema, something the Hollywood generic system to come will stamp out. With its daring use of ellipsis, is this the first art-film, the first 'Cat People'?

I watched this film on a DVD that was rammed with short films from the period. I didn't watch all of them as the main problem with these type of things that their value is more in their historical novelty value rather than entertainment. So to watch them you do need to be put in the correct context so that you can keep this in mind and not watch it with modern eyes. With the Primitives & Pioneers DVD collection though you get nothing to help you out, literally the films are played one after the other (the main menu option is "play all") for several hours. With this it is hard to understand their relevance and as an educational tool it falls down as it leaves the viewer to fend for themselves, which I'm sure is fine for some viewers but certainly not the majority. What it means is that the DVD saves you searching the web for the films individually by putting them all in one place – but that's about it.

At once this film is interesting but yet frustrating in seeing things being worked on that are now commonplace. The interesting aspect is the framing of the shot, which is reminiscent of a painting in the way it sets the foreground (the jetty) and a background (the sloping hill on the horizon). However as a film it has the boat moving through one towards the other, which is an interesting development that provides plenty to look at. The women on the pier are worth watching as is the boat, so the viewer is held by both.

However it was here that the film annoyed me by just "ending". I had expected the planned film to see the boat move out of shot around the jetty, which would be a logical end, leaving the viewer wit only the static fore and back grounds to contemplate. It did annoy that the film just stopped instead of ending. That said though, it is yet again interesting to watch as part of Lumière's development.