A Desperate Crime

Plot

In this early crime thriller, a desperate man commits murder, setting in motion a dramatic chain of events that leads to his capture and ultimate punishment. The film follows the criminal's attempt to evade justice after the killing, showing the investigation and pursuit by authorities. As the story unfolds, the killer is eventually apprehended and brought before the legal system to face the consequences of his actions. The narrative culminates in a graphic depiction of execution by guillotine, which was a common method of capital punishment in France during this period. The film serves as both entertainment and a moral cautionary tale about crime and punishment in early 20th century society.

Historical Background

In 1906, cinema was still in its infancy, with films typically lasting only a few minutes and shown as part of variety programs. France was the world's leading film-producing nation, with Pathé and Gaumont dominating the industry. This period saw the emergence of narrative cinema, moving away from the actuality films that characterized early cinema. The guillotine depicted in the film was historically significant as France continued to use this method of execution until 1981, making it a relevant and shocking image for contemporary audiences. The film reflects the growing public fascination with crime stories and police procedures that would later evolve into the crime film genre. Méliès, already established as a pioneer of fantasy and trick films, was expanding his repertoire to include more realistic dramatic subjects.

Making Of

Georges Méliès filmed 'A Desperate Crime' in his innovative glass studio in Montreuil-sous-Bois, which allowed him to control lighting for special effects. The guillotine scene would have been created using Méliès's mastery of substitution splices, where the camera would be stopped, actors replaced with dummies, and filming resumed to create the illusion of decapitation. Méliès, a former magician, brought theatrical techniques to cinema, using trap doors, wires, and elaborate painted scenery. The production would have been completed quickly, as Méliès was known for his efficient shooting methods, often completing entire films in just one or two days. Manuel, one of the regular actors in Méliès's troupe, would have been familiar with the director's precise instructions and timing requirements for the special effects sequences.

Visual Style

The cinematography in 'A Desperate Crime' would have employed Méliès's characteristic theatrical style, with static camera positions capturing the action as if on a stage. The film used the standard 35mm format of the era, with Méliès's typical use of painted backdrops and detailed set pieces. Lighting would have been natural, coming through the glass walls of his studio, creating the bright, even exposure characteristic of his work. The guillotine scene would have required precise timing and multiple exposures to achieve the desired effect. Some versions of the film featured hand-coloring, a labor-intensive process that Méliès employed for his most important productions, adding visual impact to key scenes.

Innovations

The film showcased Méliès's mastery of substitution splicing, particularly in the execution scene where he would create the illusion of decapitation by stopping the camera, replacing the actor with a dummy, and resuming filming. The mechanical guillotine prop represented an impressive feat of practical effects for its time. Méliès's use of multiple exposures and careful editing would have been technically advanced for 1906. The film's set design and painted backgrounds demonstrated the sophisticated production values that distinguished Méliès's work from many contemporaries. The hand-coloring process used in some versions required painstaking frame-by-frame application of color, representing significant technical and artistic achievement.

Music

As a silent film from 1906, 'A Desperate Crime' had no synchronized soundtrack. During its initial exhibition, musical accompaniment would have been provided live, typically by a pianist or small orchestra. The music would have been selected to match the dramatic tone of each scene, with tense, suspenseful music during the crime and pursuit, and somber, dramatic music for the execution sequence. Some theaters may have used sound effects, particularly for the guillotine scene, to enhance the impact on the audience. The choice of music would have varied by venue and the skill of the resident musician.

Memorable Scenes

• The climactic guillotine execution scene, which used Méliès's signature substitution splicing technique to create the shocking illusion of decapitation, would have been the film's most memorable and talked-about sequence for 1906 audiences.

What Critics Said

Contemporary critical reception of 'A Desperate Crime' is not well-documented, as film criticism was still in its developmental stages in 1906. Reviews from trade publications of the era likely focused on the technical aspects and the shocking nature of the execution scene. Méliès's films were generally well-regarded for their technical innovation and entertainment value. Modern film historians view the work as an important example of Méliès's expansion into dramatic genres beyond his fantasy specialty. The partially lost status of the film makes comprehensive critical assessment difficult, though surviving fragments suggest it maintained Méliès's high production values and technical skill.

What Audiences Thought

Audience reactions to 'A Desperate Crime' in 1906 would have been mixed, with the guillotine scene likely provoking strong responses ranging from fascination to horror. Early cinema audiences were accustomed to Méliès's magical fantasies, so this gritty crime drama would have provided a different kind of spectacle. The execution scene, while shocking, would have drawn crowds seeking sensational content, a common draw for early film exhibitors. The film's brevity and clear narrative would have made it accessible to the diverse audiences of early cinema, from working-class patrons to middle-class viewers. As with many Méliès films, it likely enjoyed success in both French and international markets, where his reputation as an innovative filmmaker preceded him.

You Might Also Like