Chaise en bascule
Plot
In this early silent comedy short, the renowned vaudeville duo Foottit and Chocolat engage in their signature comedic routine featuring a rocking chair. The white-faced clown George Foottit and his partner Chocolat (Rafael Padilla) perform a series of acrobatic and slapstick maneuvers, hopping, dancing, and occasionally engaging in mock fights around and with the rocking chair prop. Their routine showcases the contrasting physical comedy styles that made them famous - Foottit's precise clowning techniques versus Chocolat's more expressive, athletic performance. The film captures the essence of their popular stage act, bringing their theatrical comedy to the new medium of cinema.
About the Production
This film was likely shot in a single take with a stationary camera, which was typical for early cinema. The rocking chair served as the central prop around which the entire routine was choreographed. The film was part of Georges Méliès's Star Film catalog, though Méliès himself may not have directed it. The performers were adapting their popular stage routine specifically for the camera, requiring them to modify their timing and movements for the new medium.
Historical Background
The year 1900 was a pivotal moment in cinema history, occurring just five years after the Lumière brothers' first public screening in 1895. France was the epicenter of early film production, with pioneers like Georges Méliès pushing the boundaries of what cinema could achieve. This film was made during the Exposition Universelle in Paris, a world's fair that showcased technological innovations and attracted international attention. The era was characterized by rapid experimentation with the new medium, with filmmakers documenting everything from everyday scenes to theatrical performances. Vaudeville and circus entertainment were at their peak popularity, and early cinema often drew from these established forms of entertainment for content.
Why This Film Matters
This film holds significant cultural value as one of the earliest surviving examples of black performers in cinema. Rafael Padilla (Chocolat) was arguably the first black movie star, though this distinction is often overlooked in film history. The film documents the important partnership between Foottit and Chocolat, who helped establish the classic clown duo format that influenced generations of comedians. Their success challenged racial barriers in entertainment, though their act also reflected and sometimes reinforced racial stereotypes of the period. The film represents the transition from theatrical to cinematic entertainment, capturing how early cinema preserved performance art that might otherwise have been lost to history.
Making Of
The filming of 'Chaise en bascule' took place during the pioneering days of cinema when performers were still adapting to the new medium. Foottit and Chocolat would have had to modify their stage performance for the camera, exaggerating their movements and ensuring all action remained within the frame of the stationary camera. The film was likely shot outdoors or in a simple studio setup with natural lighting, as artificial lighting was still primitive. The entire sequence was probably filmed in one continuous take, requiring perfect execution from the performers. This was part of a series of films made featuring popular entertainers of the era, as early filmmakers recognized the commercial potential of capturing famous stage acts on film.
Visual Style
The cinematography was typical of the era, featuring a single stationary camera position that captured the entire performance in one wide shot. The camera would have been hand-cranked, resulting in variable frame rates. The black and white film stock had limited sensitivity, requiring bright lighting conditions. The composition was straightforward, ensuring both performers and the rocking chair prop remained visible throughout the routine. No camera movement or editing techniques were employed, as such innovations had not yet been developed.
Innovations
While not technically innovative for its time, the film represents the important technical achievement of preserving theatrical performance for posterity through the new medium of cinema. The successful capture of fast-paced physical comedy demonstrated the camera's ability to document movement and action. The film also shows early understanding of framing and composition for cinematic presentation, ensuring the entire routine remained visible within the camera's field of view.
Music
As a silent film, 'Chaise en bascule' had no synchronized soundtrack. During original screenings, the film would have been accompanied by live music, typically a pianist or small orchestra playing popular tunes of the era or improvising music to match the on-screen action. The musical accompaniment would have emphasized the comedic timing and physical movements of the performers. Modern presentations of the film may feature newly composed scores or period-appropriate music.
Memorable Scenes
- The entire rocking chair routine, where Foottit and Chocolat perform their synchronized and contrasting physical comedy around the central prop, showcasing their signature style of mock fighting and acrobatic timing
Did You Know?
- George Foottit and Rafael Padilla (Chocolat) were one of the most famous comedy duos in late 19th century France, performing at the Nouveau Cirque in Paris
- Rafael Padilla was born in Cuba around 1868 and was brought to France as a child, making him one of the first black performers to achieve mainstream success in European entertainment
- Their comedy act was revolutionary for its time, featuring a white clown (Foottit) and an Auguste clown (Chocolat) - a format that would become standard in circus clowning
- The duo's partnership lasted from 1886 to 1910, with their peak popularity occurring in the 1890s
- This film represents one of the earliest examples of capturing live stage performance on camera
- Foottit and Chocolat were paid enormous salaries for their time, reportedly earning 20,000 francs per year at their peak
- Their comedy often played with racial dynamics of the era, though their off-stage friendship was genuine and groundbreaking
- The rocking chair routine was one of their signature acts, known for its physical comedy and timing
- Early films like this were often shown as part of variety programs in music halls and fairgrounds
- Very few films featuring Foottit and Chocolat survive today, making this footage particularly valuable to film historians
What Critics Said
Contemporary critical reception is difficult to determine as film criticism was not yet established as a profession in 1900. However, films featuring popular entertainers like Foottit and Chocolat were generally well-received by audiences and exhibitors. Modern film historians and archivists consider this footage invaluable for its documentation of early performance styles and its representation of racial dynamics in turn-of-the-century entertainment. The film is studied for its place in the development of cinematic comedy and its role in preserving the legacy of pioneering performers.
What Audiences Thought
Audiences in 1900 would have been fascinated by this film as it brought the popular live performances of Foottit and Chocolat to the screen. The novelty of seeing famous performers captured on film was a major draw, and their physical comedy translated well to the silent medium. The film would have been shown in fairgrounds, music halls, and traveling exhibitions as part of mixed programs of short films. Modern audiences viewing the film today appreciate it primarily for its historical value and as a window into early 20th century entertainment.
Film Connections
Influenced By
- Live vaudeville theater
- Circus clowning traditions
- Music hall entertainment
This Film Influenced
- Later comedy shorts featuring duos
- Circus and clown films
- Physical comedy in silent cinema
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Film Restoration
The preservation status of this specific film is unclear, as many early Star Film productions are lost or exist only in fragmentary form. Some films featuring Foottit and Chocolat are preserved in film archives such as the Cinémathèque Française and the Library of Congress. The film exists in the public domain due to its age.