Faust aux enfers



[Faust aux enfers]

The Damnation of Faust

1. The Route to the Depths of Perdition (a Dazzingly Sensational New Effect.)
2. The Fantastical Ride.
3. The Gloomy Pass.
4. The Stream.
5. The Entrance to the Lower Regions.
6. The Marvelous Grottoes (tableau with six dissolving Scenes.)
7. The Crystal Stalactites
8. The Devil's Hole
9. The Ice Cavern.
10. The Goddesses of Antiquity (a Superb Fantastical Ballet in a Snowstorm.)
11. The Subterranean Cascade (a New Trick with Apparition in a Waterfall.)
12. The Nymphs of the Underworld.-The Seven Headed Hydra-The Demons-The Struggle of Water with Fire (a big Novelty.)
13. The Descent to Satan's Domain (a clever trick now first shown.)
14. The Furnace.
15. The Triumph of Mephistopheles. 

LUB 1904-06

Faust en los infiernos

MEL 1904-A

The Damnation of Faust

(a grand fantastical fantasy in 15 motion tableaux, inspired by Berlioz's celebrated song poem).

1. The Route to the Depths of Perdition.-After the death of Marguerite, Mephislopheles takes possession of Doctor Faust. They mount a mettlesome steed upon which the latter is borne away to the realm of Satan.
2. The Fantastical Ride.-Faust and Mephistopheles pass across the picture at a terrific rate. Along the horizon a fantastical panorama is unrolled with dazzling rapidity whilst the horse gallops at a break-neck pace.
3. The Gloomy Pass.- In the horizontal evolution of the panorama one sees the horse and his two riders enter into a narrow gorge with steep sides and of a lonely aspect. They disappear in the distance.
4. The Cataract.-The picturesque setting represents a huge wall of bare rocks of a dizzy height, from the summit of which falls a mass of natural water. Mephistopheles descends from the top dragging Faust after him. A trail of fire follows closely after the demon as the makes his way down the steep incline. They arrive at the cataract, and as it bars their passage. Mephistopheles commands it to cease, thereby disclosing the mouth of a cavern, into which the two personages enter. Immediately after their entrance the waterfall flows again with mighty force.
5. The Entrance to the Lower Regions.-This tableau represents a sort of declivitous tunnel which slopes down into the bowels of the earth. Mephistopheles continues to drag Faust on. But in spite of the latter’s protestations the two proceed down to the subterranean regions.
6. The Marvelous Grottoes.-These two personages next pass through a series of grottoes effectively painted, as they wend their way to Satan’s empire. Rapid changes of varied tableaux marvellously constructed.
7. The Crystal Stalactites.-A grand fantastical grotto hung with stalactites of crystal which, in the infernal light, shine with amazing splendor.
8. The Devil's Hole.-Mephistopheles gives Doctor Faust a few moments of rest, for he is almost worn out from the long and arduous journey which they have pursued uninterruptedly. The he points to a shadowy passageway-The Devil’s Hole and he commands Faust, shaking with fear, to advance. (Dissolving view.)
9. The Ice Cavern.-The preceding setting, dim and gloomy, gives way to a resplendent scene, a magnificent cavern of transparent ice.
10. The Goddesses of Antiquity.-At the command of Mephistopheles the goddesses of ancient mythology who dwell in the realm of Satan come forth from the ground and execute a brilliant ballet. For a moment Faust forgets his sad fate and enjoys with unalloyed delights the wonders Satan shows him.
11. The Subterranean Cascade.-Suddenly the dancers vanish into space, and the grotto is transformed into a grand cascade of natural water, occupying the entire picture.
12. The Nymphs of the Underworld.-The Seven Headed Hydra-The Demons-In the midst of the falling water of the cascade there appears almost imperceptibly some naiads floating about in the air, and others are grouped around, forming a charming ensemble. They gradually fade away and in the water trickling down the cliff there appears a monster in the shape of a seven-headed hydra, which twists restlessly about much to the fright of Faust. This beast disappears in his turn and demons bearing burning torches pass to and for over the falls, while performing all sorts of capers. They set fire to the cavern; the fire finally triumphs over the water, which ceases to flow. Mephistopheles seizes Faust and wraps him in his cloak, and both then vanish into the ground.
13. The Descent to Satan's Domain.-Faust and Mephistopheles descend through space in a sort of well hollowed out of rock. As the walls are made to move rapidly upward in the picture the effect upon the spectator is that of two people leaping down from a great height to unknown depths below. (A new trick highly sensational.)
14. The Furnace.-As Faust and his Master descend they arrive from the top of the picture at a grotto of fire and flames terrifying in its appearance. They have reached the end of their journey. Faust is hurled into the furnace, which immediately sends forth a cloud of smoke and fire, while a band of demons dance merrily about in wild and fiendish contortions.
15. The Triumph of Mephistopheles. Apotheosis.-The inhabitants rush in from every direction, and amid the mighty flames they form a strikingly picturesque ensemble. Mephistopheles rises above the crowd with an air of triumph, and crowns the scene by spreading his enormous wings after the manner of a fantastical bat. His subjects render their homage to the Master of the Infernal Powers.

Our Film nº562, "Faust and Marguerite," which has met with unprecedented success, forms a natural beginning to the above subject.

MEL 1905-A


1 Méliès 527-533  
2 Georges Méliès   
3 1903  145 m/493 ft/490 ft
4 France   


20/04/1903  Cuba, La Havane Costa y Prada Fausto 

[...] La segunda parte continúa después de la muerte de Margarita. Es una serie de episodios mágicos, una historia fantástica llena de personajes simbólicos, que en el cinematógrafo hacen un efecto emocionador. Fausto abandona la vida de las pasiones ardientes y agitadas en que fracasó el tierno idilio de amor convertido en horrible tragedia por el arrebato brutal de sus apasionamientos. Su alma aspira a un nuevo éxtasis, el de la contemplación augusta de la belleza.
Se dirige a la Corte del emperador, en busca de una mujer que encarne el tipo de una hermosura extraordinaria, que resucité las formas pares de Elena, la belleza clásica descrita por Homero, que fue ocasión de la epopeya troyana.
Desciente con el diablo a los profundos [conos] de la tierra y atraviesa los abismos, entre las más abruptas y cavernosas profundidades donde se crían seres extraños y creaciones diablólicas, extravanges, gnomos y hadas bellísimas, que se cuelgan del techo y de las columnas, como estalactitas vivientes; hidras monstruosas, arañas inmensas, endriagos y visiones de formas horribes.
Fausto encuentra al fin a la belleza ideal que habla evocado en sus deseos; la hermosa Elena el modelo plástico más perfecto surge a su visita entre un mundo de figuras femeniles encantadoreas. Son las ideas madres de lo creado, que presiden la formación de cuanto hay de bello en la Naturaleza.
Después Fausto se cada con Elena y tiene [devoción]; símbolo del arte que ha de centrar en nuevas formas de belleza soñada, como reflejo vivo del ideal que nunca perece, porque es el [sino] de cuanto existe.
Fausto muere sin haber saciado ese afán de emociones [...] 

Diario de la marina, La Habana, 11 de mayo de 1904, p. 6. 


Mexique, Tezuiltán

Salvador Toscano

La condenación de Fausto o Fausto en los infiernos


France, Pontoise, Parc-aux-Charrettes

Pierre Iunk

La Damnation de Faust


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