Brandvæsenet rykker ud

Plot

This pioneering Danish short film captures the dramatic departure of a fire brigade from their station as they rush to respond to an emergency call. The film begins with the firemen and their horses rapidly exiting the firehouse with their equipment, creating a sense of urgency and action. Unlike typical fire brigade films of the era that only showed the departure sequence, this production continues to follow the brigade to the actual fire site. The camera then documents the scene of the fire, showing the firefighters at work battling the blaze. This dual approach of showing both the response and the incident itself represented a significant advancement in early documentary-style filmmaking, providing viewers with a more complete narrative of the emergency response process.

Historical Background

This film was created during the very birth of cinema, just two years after the Lumière brothers' first public screening in Paris. In 1897, moving pictures were still a technological novelty, and most films were simple documentaries or actualities showing everyday scenes. Denmark was relatively quick to embrace the new medium, with Peter Elfelt emerging as the country's first filmmaker. The film was made during a period when urban Copenhagen was modernizing and professionalizing its emergency services, making the fire department an appropriate subject for showcasing civic progress. The late 1890s also saw the rise of organized fire departments in major European cities, replacing volunteer brigades with professional, horse-drawn equipment that could respond more rapidly to urban fires.

Making Of

The production of 'Brandvæsenet rykker ud' presented unique challenges for its time. Peter Elfelt, working with primitive equipment, had to coordinate with the Copenhagen Fire Department to stage the emergency response. The filming required Elfelt to transport his heavy, hand-cranked camera to two separate locations - first outside the fire station to capture the dramatic departure, and then to the fire scene. This logistical complexity was remarkable for 1897, when most filmmakers preferred static, single-location shots. Elfelt likely had to manually develop the film himself in his photography studio, as commercial film processing services were virtually nonexistent in Denmark at the time. The fire department personnel shown in the film were actual firefighters, not actors, contributing to the documentary authenticity that made Elfelt's work distinctive.

Visual Style

The cinematography in 'Brandvæsenet rykker ud' was typical of films from 1897, utilizing a stationary camera positioned to capture the action from a single viewpoint. The film was shot in black and white using 35mm film with an aspect ratio of approximately 1.33:1. Elfelt would have used a hand-cranked camera, likely of French manufacture, requiring careful manual operation to maintain consistent exposure and speed. The camera work demonstrates the constraints of early film technology - fixed positions, long takes, and no camera movement. Despite these limitations, Elfelt managed to create dynamic visual interest through careful composition and the inherent movement of his subjects. The film exhibits the characteristic high contrast and soft focus of early cinematography.

Innovations

The film's primary technical achievement lies in its pioneering use of continuity editing to connect two separate locations and actions into a coherent narrative. This represented a significant advancement beyond the single-shot actualities that dominated early cinema. The successful coordination of filming with an active fire department demonstrated sophisticated production planning for the era. Elfelt's ability to capture clear, stable images of fast-moving subjects (galloping horses and racing fire engines) with primitive equipment was technically impressive. The film also serves as an early example of documentary filmmaking techniques that would later become standard practice. The preservation of this film for over 125 years is itself a testament to the quality of the original film stock and subsequent preservation efforts.

Music

As a silent film from 1897, 'Brandvæsenet rykker ud' was originally presented without synchronized sound. During theatrical screenings, it would have been accompanied by live music, typically a pianist or small orchestra playing appropriate mood music. The musical accompaniment would have been improvised or selected from existing classical pieces, with dramatic music during the action sequences. Some theaters might have used sound effects created backstage to enhance the experience, such as bells ringing or hoofbeat sounds. No original score or specific musical arrangements were created for the film, as this practice did not become common until later in cinema history.

Memorable Scenes

• The dramatic opening sequence showing firemen and horses rushing out of the firehouse, creating a sense of urgency and action that captivated 1897 audiences
• The transition to the fire scene, which was innovative for its time as most contemporary films only showed one location
• The authentic footage of firefighters using period equipment to battle the blaze, providing invaluable historical documentation

What Critics Said

Contemporary critical reception of the film is difficult to document as film criticism was in its infancy in 1897. However, the film was reportedly well-received by Danish audiences who were fascinated by the novelty of seeing moving images of local institutions and events. Modern film historians and critics recognize the film as an important early example of documentary filmmaking and a significant milestone in Danish cinema history. It is often cited in scholarly works about early cinema as an example of how quickly filmmakers moved beyond simple actualities to create more complex visual narratives. The Danish Film Institute considers it one of the most important films in Denmark's cinematic heritage.

What Audiences Thought

Audiences in 1897 reportedly found the film thrilling and educational. The sight of galloping horses and racing fire engines created genuine excitement for viewers who had never seen such action captured on film before. The authenticity of using real firefighters and equipment added to the public's fascination. The film was typically shown in Copenhagen theaters as part of variety programs, where it stood out among other short films and performances. Danish audiences took pride in seeing their own city and institutions documented in this new medium. The film's dual structure showing both departure and action was considered particularly sophisticated by audiences accustomed to single-shot films.

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