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MELBOURNE
Jean-Claude SEGUIN
Melbourne est la capitale de l'état de Victoria (Australie).
{tabl 1895|grey}
Le kinetoscope des frères MacMahon (Bourke-street, 16 mars-8 juin 1895)
Le kinetoscope des frères Mac-Mahon ouvre sur Bourke-street à la mi-mars :
The Kinetoscope, Mr. Edison's latest invention, will be on exhibition to-night, for the first time in Melbourne, at the premises in Bourke-street now occupied by the "Haunted Swing".
The Argus, Melbourne, samedi 16 mars 1895, p. 8.
Un court compte rendu est publié dans un autre journal local :
THE KINETOSCOPE.
Edison's famous kinetoscope has now been introduced to Melbourne, and is one of the most clever discoveries of latter day science. There is no mystery about the working of the kinetoscope; but, after the visitor has had a full explanation, he forgets all about it in his delighted surprise at the wonderfully life-like manner in which figures are made to move before him. A graceful Spanish dance is performed, a war dance, a cock fight and a blacksmith's shop is shown with the sparks flying from the anvil. It is a most clever and interesting exhibition.
The Herald, Melbourne, lundi 18 mars 1895, p. 3.
Le kinetoscope est encore annoncé à la fin du mois de mai :
Edison's remarkable invention the "kinetoscope" continues to attract a large number of visitors to the premises in Bourke-street where the startling illusion The Haunted Swing is also on exhibition.
The Argus, Melbourne, lundi 27 mai 1895, p. 6.
La dernière annonce date du début du mois de juin:
The Argus, Melbourne, vendredi 7 juin 1895, p. 8.
1896
Le Phonoscope (St George's Hall, 18 avril 1896)
Dans le vestibule du St. George's Hall, le manager George Martell installe un phonoscope.
The Age, Melbourne, samedi 18 avril 1896, p. 10.
L'Animatograph de Carl Herz (Opera House, 22 août-[16] septembre 1896)
L'Opera House. Melbourne. (c. 1899) [D.R.]
En provenance d'Afrique du Sud, Carl Hetz inaugure son animatograph (theatrograph) à l'Opera House le 22 août :
THE CINEMATOGRAPHE.
As an up to date scientific novelty the cinematographe, which was introduced to Australians by Carl Hertz at the Opera House on Saturday night, must be ascribed a leading position. It is a combination by which the effects of the kinetoscope are imparted to limelight views, producing scenes of amazing realism, and giving them all the characteristics of actual moving life. All tho accuracy of detail belonging to modern photography, which is, of course, the groundwork of the views, is strikingly manifested. Amongst the most vivid views were an Italian skirt dance, in which the danseuse was seen with the same clearness as if she had been actually on the stage; a pugilistic. encounter ; street scenes of London and London-bridge, showing hansoms, market waggons, buses and coster carts threading their way at various rates of speed through the maze of traffic, the drivers gesticulating and apparently reviling each other, just as they did one morning months ago, when the original photograph was taken. Perhaps tho most perfect of the scenes is the seascape, a flowing tide and a rocky foreshore. The rhythmic motion of the waves, tho spray and foam and broken waters where the waves were reft by the boulders, were so intensely natural that the audience, which had been growing enthusiastic over the display, broke into a storm of applause ; but the cinematographe is not educated up to encores, and a scene from the burlesque of Trilby, showing the death of Svengali, followed. During the evening Mr. Will Whitburn made his first appearance with the Harry Rickards company and was accorded un ovation. Beautiful Jessica, a new slack wire artist, also made her first appearance, and was well received.
The Age, Melbourne, lundi 24 août 1896, p. 6.
Carl Hertz. Melb. Opera House.
Free Lance, Melbourne, samedi 22 août 1896, p. 4.
Le succès des séances de projections de vues animées conduit Carl Hetz à repousser son départ :
THE Cinematographe has been such a success at the Opera House that Mr. Harry Rickards has had to cancel other engagements in order to gratify the public wish for a longer duration of the Cinematographe boom. The mechanism of the novelty is so good that the series of pictures follows with uninterrupted effect, Nearly a score are shown. The apparatus is in the centre of the dress circle, and the large screen on the stage is so well-placed that everybody can see clearly and without any craning or necks, a little matter that adds greatly to one's pleasure, Several now pictures have been added this week, but the spectators still clamour for such favourites as the Seascape, the London Street scene and Westminster Bridge. The audience invariably go into a fit of laughter at the pedestrian, who gives a hasty glance backward. The string of 'busses, cabs, and coaches of the London street scene, occasions a great deal of speculation, for the grouping has all the naturalness of life, as well as the movement and bustle typical of the locality, The Trilby incident is probably taken from the American burlesque, as the triple collapse of Svengali, the heroine and the Highlander is a new departure as far as .Melbourne is concerned. Among the humorous illustrations are the Boxing Cats, with grim earnestness stamped on their startled faces, a serpentine dance by a dog, a sword combat or horseback, a gaiety company ballot, and some negro dancers. All these are given with a swiftness realism incredible to anyone who has not yet seen this wonderful invention.
Table Talk, Melbourne, vendredi 11 septembre 1896, p. 7.
Les séances se prolongent jusqu'au milieu du mois de septembre. Carl Hetz se rend ensuite à Sydney.
L'Animatographe (Opera House, 26 septembre-28 novembre 1896)
Le succès de l'animatographe conduit Harry Rickards à proposer une nouvelle série de projections :
MR. Harry Rickards has, in recognition of a general desire to see the " Cinematographe" again, arranged for a second exhibition, commencing from to-morrow (Saturday) night.
Table Talk, Melbourne, vendredi 25 septembre 1896, p. 15.
Après quelques difficultés techniques, les séances se déroulent correctement :
The Cinematographe, in a new, and improved form was a prominent feature of the entertainment, and as the mechanical defects which to some extent marred the first presentation have now been overcome the audience were able to enjoy the full effect of the many beautiful pictures presented, which included "The English Derby," a London railway scene, Chirgwin, the "white eyed Kaffir," in one of his popular roles, and many other admirable scenes. The remainder of the programme was fully up to the high standard maintained at this popular house.
The Argus, Melbourne, lundi 28 septembre 1896, p. 6.
Mais l'appareil rencontre à nouveau quelques problèmes :
The cinematographe exhibition on Saturday was not properly workable, and the pictures thrown upon the screen were relatively defective. More and greater novelties are demanded.
Leader, Melbourne, samedi 3 octobre 1896, p. 22.
The Herald, Melbourne, lu+ndi 12 octobre 1896, p. 2.
De façon presque quotidienne, la presse continue de passer des annonces pour l'animatographe dont on explique parfois l'origine.
The Argus, Melbourne, jeudi 29 octobre 1896, p. 8.
Les dernières séances ont lieu le 28 novembre:
LAST EXHIBITION in MELBOURNE of THE CINEMATOGRAPHE.
The Age, Melbourne, samedi 28 novembre 1896, p. 12.
Le Cinographoscope Pipon de Gustave Neywark et Albert Périer (Salon Cinematographe/266 Collins-street/The Block, 26 octobre-9 novembre 1896)
Melbourne. "The Block", Collins Street.c . 1909.
Source: State Library Victoria
Le Cinographoscope Pipon - nommé par la presse "cinematographe perfectionne" - a été acheté par Albert Périer et fonctionne sous la direction de Gustave Neymark :
At the Cinematographe Salon.
Yesterday afternoon a private view was given at 266 Collins-street (next to Mullens) of the Cinematographe Perfectionne. A capital collection of animated photographs and living pictures was given under the directorship of Mons. G. Neywark. Of a verity there is something of the marvellous about an invention that brings so clearly before the spectator the life and action of scenes like "Drags Leaving the Course," "Watering Cavalry Hornes," Soudanese Diving," "Grans Steeplechase," "Buck-jumping Horse," and "Arrival and Departure of Train at Station." Very plain, too, is the manner in which these living pictures are thrown on the screen, as you may be able to judge for yourself any half-hour in the afternoon of evening from 1.30 to 9.30.
Sportman, Melbourne, mardi 27 octobre 1896, p. 5.
The Herald, Melbourne, mardi 27 octobre 1896, p. 2.
La presse semble hésiter sur le patronyme du responsable, tantôt "Neymark", tantôt "Reymart".
The Herald, Melbourne, vendredi 30 octobre 1896, p. 4.
Le 4 novembre, une séance spéciale est offerte au Blind Asylum :
A special exhibition of the Cinematographe which is on view in premises in Collins street, near Mullen's, will be given this afternoon, at 3 o'clock, in aid of the funds of the Blind Asylum. Lady Brassey has promised to be present.
The Argus, Melbourne, mercredi 4 novembre 1896, p. 7.
La fin des séances est annoncée pour le lundi 9 novembre.
The Argus, Melbourne, lundi 9 novembre 1896, p. 8.
L'appareil, qui semble avoir été vendu ensuite, doit être présenté à Bendigo.
Le Cinématographe Lumière de Marius Sestier (Princess's Theatre, 31 octobre-20 novembre 1896)
Melbourne. Princess Theatre. c. 1907.
Marius Sestier donne sa première représentation au Princess's Theatre le 31 octobre :
Incidental to the Third Act will be Exhibited,
The MARVEL of the NINETEENTH CENTURY,
The
LUMIERE CINEMATOGRAPHE,
Invented and perfected by Lumiere Bros., of Paris, and
exhibited by M. Marius Sestier.
NOTE.-The public are respectfully notified that this is the only authentic LUMIERE CINEMATOGRAPHE ever brought to the Australian colonies; its superiority over all others will be fully demonstrated.
The Age, Melbourne, samedi 31 octobre 1896, p. 12.
La presse évoque également le répertoire du cinématographe Lumière :
The Lumiere Cinematographe, under the direction of Mr. Marius Lestier [sic], is marvellous— this is really the only word that is applicable. It is impossible to imagine anything more realistic, and, in itself, it is sufficient to draw crowded houses. One of the pictures represents two gentlemen playing cards, and a waiter pouring out beer into glasses. The glasses gradually fill, the froth rises up, and well, the audience becomes thirsty.
Sportman, Melbourne, lundi 2 novembre 1896, p. 2.
The Australasian offre un long article pour évoquer quelques vues et la réaction du public et le journaliste "Menander" propose quelques commentaires non dénués d'intérêt sur les films :
As regards the cinematographe, it is quite unnecessary while testifying to the excellence of the Lumiere views shown at the Princess's Theatre to credit them with marked superiority over those shown at any other house. The pictures exhibited months back at the Opera-house, both for clearness and spirit in subject and movement, are not easily to be beaten. But that the Lumiere series fully rivals them is beyond question. There is wonderful vivacity and motion in all the scenes depicted, from the expressive pantomime and extraordinary facial contortions of the conjuror performing his hat trick to the bathing scene, wherein a string of men dive rapidly from a stage of planking into the sea and flounder out again, or that other seascape in which a boat rows away through the surf with a motion almost sufficient to afflict the spectators with nausea. A novel feature about the Lumiere cinematographe also is the humorous style in which the audience are allowed to see that the views have been taken for show purposes. A company of Cuirassiers charge directly to the foreground of the picture, rein in their horses in splendid line, and salute the audience as they would the reviewing officer on the parade ground. In one busy street scene again attention is chiefly riveted upon the conduct of one passer by, who stares with amused interest into the auditorium, and collects a little crowd of foot passengers in a corner of the canvas to emulate his impertinent curiosity. The impression produced by all this is slightly eerie. One word more about the Lumiere Cinematographe. The moment during the exhibition at which the loudest applause is evoked is, curiously enough, when the strains of the Marseillaise are heard from the orchestra, and a battalion of French troops, in heavy marching order, knapsacks and great coats on back, defile across a wintry landscape. The Australian audience cheer as if Jena, Austerlitz, and Borodino were national memories of their own. It is safe to say that no military spectacle save one, in which the marching troops were British Grenadiers, or fusileers, would provoke the same enthusiasm. Why is this the case? Where is the traditional hatred for the traditional enemy against whom most of the "deeds that won the empire"' were achieved? It looks as though the British race had a soft spot for the French, for the very reason that it fought them so long. Many a hard knock given and received has endeared the foes to each other.
[...]
MENANDER.
The Australasian, Melbourne, samedi 14 novembre 1896, p. 33.
Peu après, dans un article qui évoque les tournages effectués lors de la course hippique de Flemington, on annonce également la fin des séances pour le vendredi 20 novembre :
During the recent racing festival at Flemington the Lumiere Cinematographe was used for the first time in this part of the world to secure moving pictures of the Derby, the Cup race, and numerous scenes on the lawn. It was chiefly in the nature of an experiment, hut many will feel gratified to know that most of the principal views taken have been successfully developed. When these are shown, as they will probably be next week, it is safe to say that they will attract considerable attention, for by this means those who witnessed Newhaven's double triumph will be able to enjoy the sight over again, and those who did not see it will now have an opportunity of so doing, through the medium of this wonderful instrument. Besides this there will be various pictures of promenaders on the lawn, including the arrival of the vice-regal party. The Lumiere Cinematographe finishes its exhibitions at the Princess's Theatre on Friday night, and will thereafter be on view in the city.
The Age, Melbourne, lundi 16 novembre 1896, p. 6.
Répertoire (autres titres) : London on a Foggy Day, Baby's Meal, The Photographer, London Street Dancers, A Practical Joke, 96th Regiment Defiling, Leaving Lumiere Factory, Cyclists and Equestrians. Hyde Park, Watering the Garden, The Hat Trick, Sea Bathing, Charge of Cavalry (the Age, Melbourne, samedi 7 novembre 1896, p. 10).
Le Vitascope (Atheæum-Hall, 31 octobre-7 novembre 1896)
Le Vitascope est annoncé à l'Atheæum-Hall pour le 31 octobre.
The Argus, Melbourne, jeudi 29 octobre 1896, p. 8.
La dernière séance est annoncée pour le samedi 7 novembre.
The Age, Melbourne, samedi 7 novembre 1896, p. 10.
Le Cinématographe (Theatre Royal, 2 novembre 1896)
À l'occasion de la Cup, le concours hippique annuel, un cinématographe, sous la direction de Georges Rignold et W. Raynham fonctionne en première partie du Henri V de Shakespeare :
Mr. Rignold has made arrangements for the exhibition, at the Theatre Royal, this evening, and during race week, of cinematographe views. These will be shown at 7.30. The play Henry V. commences at 7.55.
The Herald, Melbourne, samedi 31 octobre 1896, p. 3.
The Argus, Melbourne, lundi 2 novembre 1896, p. 8.
Cinématographe à vendre (256 Bourke-street, 7 novembre 1896)
A partir du 7 novembre, la presse locale fait passer une petite annonce pour la vente d'un cinématographe.
The Age, Melbourne, samedi 7 novembre 1896, p. 10.
Le Cinématographe du Prof. Smythe (Rotunda Hall/Bourke-Street East, <29> décembre 1896)
Le prof. Smythe présente des vues animées en décembre.
The Age, Melbourne, mardi 29 décembre 1896, p. 8.
