Coolies in Saigon

Plot

This brief documentary captures a striking image of colonial labor in French Indochina, showing two parallel lines of Vietnamese workers straining to pull a heavy steamroller through the streets of Saigon. The workers, referred to as 'coolies' in the contemporary terminology, work in coordinated effort to move the massive piece of equipment along what appears to be a dirt or paved road. The steamroller itself represents modern Western technology being introduced to the colony, while the manual labor demonstrates the exploitation of local human resources. The entire sequence serves as a stark visual document of the colonial power dynamics and infrastructure development in late 19th century Vietnam. The film likely runs only 20-30 seconds, typical of the extremely short actualities produced during cinema's earliest years.

Historical Background

This film was made during the height of European colonial expansion, specifically during France's consolidation of power in Indochina. The 1890s saw increased French investment in colonial infrastructure, including roads, railways, and buildings, often built with local labor under European supervision. In cinema, 1897 was just two years after the Lumière brothers' first public film screening in Paris, and filmmakers were eager to capture images from around the world to satisfy public curiosity about distant lands. The film also coincides with the period when anthropological and ethnographic interests were growing in Europe, with colonial subjects often documented for scientific as well as entertainment purposes. The steamroller itself represents the industrial revolution's spread to colonial territories, where modern technology was often implemented using traditional labor methods. This period also saw the beginning of moving image documentation of non-Western cultures, though often through the lens of colonial power dynamics and European perspectives.

Making Of

Constant Girel was dispatched by the Lumière brothers to travel to various exotic locations to capture footage that would fascinate European audiences. The filming of 'Coolies in Saigon' would have required Girel to transport heavy and delicate camera equipment by ship to French Indochina. Once in Saigon, he would have had to find suitable subjects that would appeal to viewers back in France - scenes of colonial life, local customs, and industrial progress were particularly popular. The filming process involved setting up the Cinématographe on a tripod in the street, carefully composing the shot to capture both the workers and the steamroller. The hand-cranked camera could only film about 50 seconds at a time on each film reel, so Girel had to be selective about what to capture. The tropical heat and humidity would have made the filming conditions challenging, potentially affecting the camera mechanics and film quality. Local colonial authorities likely assisted Girel in accessing filming locations and subjects, as they were eager to showcase the 'progress' being made under French rule.

Visual Style

The cinematography of 'Coolies in Saigon' reflects the technical limitations and aesthetic conventions of 1897. Shot using the Lumière Cinématograthe on 35mm film, the camera would have been stationary, mounted on a tripod, capturing the scene from a single, fixed perspective. The framing is likely wide to encompass both lines of workers and the steamroller, creating a tableau-like composition typical of early actualities. The black and white imagery would have high contrast due to the orthochromatic film stock used at the time, which was more sensitive to blue light than red. No camera movement was possible, and the shot would have been composed in advance, as the cameras of this period could not be easily repositioned once filming began. The exposure would have been challenging in the bright tropical sun of Saigon, requiring careful adjustment of the camera's aperture. The resulting image, while technically simple, creates a powerful visual document through its straightforward, observational approach, allowing the subject matter itself to provide the visual interest.

Innovations

Successfully filmed in tropical conditions using early camera equipment,Captured clear images of moving subjects using the hand-cranked Lumière Cinématographe,Preserved footage from one of the earliest film expeditions to Southeast Asia,Demonstrated the portability and durability of early film equipment in challenging environments

Memorable Scenes

• The opening shot showing two parallel lines of Vietnamese workers straining in unison to pull the steamroller through the streets of colonial Saigon, creating a powerful visual metaphor for colonial labor relations and technological transfer in the late 19th century

What Critics Said

Contemporary critical reception of 'Coolies in Saigon' would have been limited to brief mentions in trade papers and exhibition catalogs, as formal film criticism had not yet developed. The film was likely praised for its exotic subject matter and its ability to transport viewers to distant lands. Early cinema audiences were fascinated by any moving images from foreign locations, and colonial subjects were particularly popular. Modern film historians and critics view the film as an important documentary artifact, though they also examine it through a postcolonial lens, noting how it reflects and reinforces colonial power dynamics. The film is now studied as an example of early ethnographic cinema, despite its lack of anthropological rigor. Critics today acknowledge both its historical value as early footage of Vietnam and its problematic framing of colonial labor relations.

What Audiences Thought

When first exhibited, 'Coolies in Saigon' would have been received with fascination by European audiences who had rarely, if ever, seen moving images of Asia. The novelty of cinema itself combined with the exotic subject matter would have made this short film a popular part of Lumière exhibition programs. Audiences were particularly drawn to films showing technological progress and different cultures, and this film delivered both with its depiction of modern machinery and colonial labor. The film's brevity was typical of the period, as audiences were still being introduced to the medium and preferred short, easily digestible scenes. For Vietnamese audiences, had they had access to such exhibitions, the film might have evoked different responses - perhaps recognition of familiar scenes or reflection on the colonial labor system. Today, the film is primarily viewed by scholars, film enthusiasts, and those interested in Vietnamese history, who appreciate it as a rare visual document of the period rather than entertainment.

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