A Viúva Jones

There are a few historically interesting aspects concerning this film, "The Kiss". It is, perhaps, the earliest filmed kiss. Supposedly, it created some controversy. Later in 1896, "Fatima's Coochee-Coochee Dance", another Edison film, indeed, was censored via white crossbars covering her chest and hips. Furthermore, the framing of this kissing scene is from a medium close-up. The Edison Company had used the medium close-up before, such as in "Edison Kinetoscopic Record of a Sneeze", which wasn't released commercially, but the photographs of it appeared in a "Harper's Weekly" article.

This scene is also from the conclusion of the musical comedy "The Widow Jones", a play by John J. McNally that had premièred the previous year. The Edison filmmakers were obsessed with vaudeville performances, especially dancing, and Alfred Clark had already introduced professional theatrical actors to film with his few historical reenactments, such as "The Execution of Mary, Queen of Scots" (1895). Nevertheless, "The Kiss" was new territory for the Edison Company in that it's based on a theatrical play and featured credited professional actors. More than a decade later, various filmmakers attempted to marry cinema and the stage and essentially make film a travesty of theatre.

Most remarkable of "The Kiss", however, is that it was a very popular scene. Charles Musser has claimed it was their most popular film of 1896. A March 1898 Catalogue indicates it had an even lengthier period of popularity: "This subject has met with unequaled success on the Kinetoscope or projecting machine." It remained in the Edison catalogues until at least 1901, it appears. The rather new subject matter, its theatrical source and the use of the medium close-up surely led to its popularity. The film must have been quite a novelty when projected on the screen to patrons whose experience, if any, heretofore had been with long shot framing of film subjects.

William Heise photographed "The Kiss" in April 1896 at the "Black Maria" studio. The Edison Company made the film at the behest of "The New York World" newspaper, and the photographs appeared in its Sunday edition on 26 April. It nearly took up a page under the article "The Anatomy of a Kiss". As the article demonstrates, May Irwin and John C. Rice rehearsed the scene, especially the timing, before being filmed. The film appeared on the screen during the second week of the Vitascope's New York run. It was a hit; contemporary reviews paid it special mention similar to that of another blockbuster film of the time, "Rough Sea at Dover". Contemporary reviews also note that it appeared prominently at the beginning or end of exhibitors' programs.

According to Musser ("Before the Nickelodeon"), Edison Company film sales soared during 1896-1897, from $18,616 in 1895-1896 to $84,771. By 1898-1899, sales had fallen to $41,207. These numbers are surely tied largely to the novelty of the Vitascope and then the fading away of its novelty, but it's interesting to note how they also correspond to the circulation of "The Kiss", which, indeed, has been claimed to be the company's bestseller during the period.

Another thing I've noticed about "The Kiss", but for which I haven't found mention of elsewhere, is that there are two versions of it available today; they appear to be mirror images of each other. The Library of Congress paper print features Rice to the left of Irwin, but another print features him to the right of her. Perhaps, the latter is a result of mishandled copying of an original print. Musser has mentioned that the film was photographed only once, and "The New York World" article seems to support that statement. Moreover, the prints appear too similar for one of them to have been a remake. In 1900, however, the Edison Company would remake "The Kiss", but with a different couple. The kiss has been a movie staple ever since.

This very small piece of film history is a real cinematic treasure. We are very fortunate it is still with us to be enjoyed and appreciated, for a kiss has become almost synonymous with the birth of cinema. When one thinks of the movies' beginning, the image of May Irwin and John Rice come to mind. These very early films were typical of the period, the decade of the 1890's. Very short films lasting under a minute designed for the Edison kinetoscope to be viewed in "peep show" parlors. This film is not only important for its historical value, but we get the rare privilage of seeing the fabulous Broadway actress, May Irwin repeating for the camera a scene from the popular play "The Widow Jones". Miss Irwin was a very prolific actress of the late 19th and early 20th century. To my knowledge she made only one other film, 1914's "Mrs. Black is Back". Though her presence in "The Kiss" is very brief, we get a big glimpse of an eminent actress.

I discovered silent movies one day when I was too sick to go to school and the local educational TV station ran several of them. That was where I was exposed to this early Edison short. Later I discovered this simple film, showing nothing more than 2 people kissing, was blasted by clergyman who used such terms as "A lyric of the stockyards" to describe this intimate act blown up larger than life and projected on a screen. Here moving pictures were still in their infancy and already certain people who let zealotry replace common sense were calling for censorship! Some things never change! We are lucky that so many Edison shorts survived for us to see these days. You have to wonder what all the fuss was about.

As short and simple as it is, this is still an interesting historical landmark, as one of the first movies to be surrounded by public controversy. Some of the other early movies are remembered for the initial surprise they caused (for example, the fear that some audiences felt when they first saw footage of a train coming towards the camera), but the reaction to this movie was different.

Given the accounts of the reactions that it caused, the footage itself seems surprisingly innocuous. The participants in "The Kiss" are neither young nor attractive, and their feelings towards each other seem more affectionate than sensual. That it caused such comment in its time no doubt speaks in part to what that generation was concerned with, but even at that, surely most persons had seen this kind of behavior before.

What made this different was that it was projected on a large screen for all to see, and that an intimate moment had been captured in a form that could be preserved forever and replayed over and over. Unlike a stage scene, a movie is never really over and forgotten, since audiences can still see it many decades later. Also unlike a stage scene, a movie camera could capture the scene in a (medium) close-up, bringing the viewer much closer to the kissing couple.

A movie also captures the entire sequence of events, so that the impression of what is happening is fleshed out in its entirety, making it more memorable than even the most well-chosen moment for a still photograph. All of these thoughts may not fully explain it either, but the fact remains that, though there are certainly some different things that other media can do better than cinema, this was an early example of what movies can do to a degree that other art forms cannot quite rival.

The Kiss is simple that. It's about 20 seconds long, each second pure and innocent as your first kiss. Even the way it is filmed, very close and personal, that it makes you feel like it is the first time you are witnessing a kiss. You're never going to see this unless you take a History of Film class. Make sure you're there for the first day of class because that's when they're going to show this flick. It stands today as one of the first motion picture shorts in America.