In the Bath

Plot

In this early erotic short film, a woman enters a bathroom setting and begins to undress, revealing her body to the camera. She proceeds to take a bath, washing herself while the camera observes her intimate routine. Following her bath, she receives a massage from an attendant, experiencing relaxation and pleasure. The film concludes with the woman resting in a state of post-bath tranquility, showcasing the entire bathing ritual from undressing through relaxation in what was considered daring content for its time.

Historical Background

In 1909, cinema was still in its infancy, with films typically lasting only a few minutes and shown in vaudeville theaters or dedicated nickelodeons. This was the era before strict censorship codes were established in most countries, allowing filmmakers like Johann Schwarzer to experiment with more daring content. Vienna at the time was known for its liberal attitudes toward sexuality and was a center for artistic experimentation. The film emerged during a period when society was grappling with changing sexual mores, the rise of psychoanalysis (Freud was active in Vienna during this period), and new technologies that were changing how people experienced visual media. These early erotic films were part of a broader exploration of sexuality in art and literature, though they existed largely underground due to social taboos.

Making Of

The production of 'In the Bath' was typical of Johann Schwarzer's approach to erotic filmmaking - quick, efficient, and focused on delivering explicit content within the technical limitations of early cinema. The film was likely shot in a single day with minimal crew, using natural light or simple artificial lighting. The performers were probably paid per scene and worked anonymously to avoid social repercussions. Schwarzer operated his Saturn-Film company as a legitimate business despite the illicit nature of his products, maintaining a studio in Vienna where he produced these films systematically. The bathing setting was particularly popular as it provided a 'natural' context for nudity, though the films were clearly designed for erotic rather than documentary purposes.

Visual Style

The cinematography would have been typical of early 1900s filmmaking - static camera positions, basic lighting, and black and white film stock. The camera would have been positioned to capture the full body of the performer as she undressed and bathed, with the framing designed to maximize visibility of the nude form. Given the technical limitations of the time, the lighting was likely flat and functional rather than artistic. The film would have been shot on 35mm film with hand-cranked cameras, resulting in variable frame rates. The visual style was straightforward and documentary-like, focusing on clear presentation of the action rather than creative cinematography.

Innovations

While not technically innovative in the conventional sense, 'In the Bath' and other Saturn-Film productions represented an early commercial application of cinema for erotic purposes. The films demonstrated the technical feasibility of producing short erotic content efficiently and profitably. The use of indoor sets with controlled lighting for intimate scenes was relatively advanced for its time, as many early films were shot outdoors due to lighting requirements. The survival of any prints from this period is itself a technical achievement, given the fragile nature of early film stock and the deliberate destruction of many of these films by authorities.

Music

As a silent film, 'In the Bath' would have been accompanied by live music during screenings, likely piano or organ music in theaters. The specific musical accompaniment would have varied by venue and was probably improvised by the house musician. There was no original composed score for the film, and any musical elements would have been added during exhibition rather than production. The music would have been chosen to match the mood of the scenes, possibly using popular romantic or sensual melodies of the period.

Memorable Scenes

• The undressing sequence where the woman removes her clothing piece by piece, revealing her body to the camera in what was considered shocking nudity for 1909
• The bathing scene where the woman washes herself while being observed by the camera, showcasing early cinema's voyeuristic potential
• The massage sequence where the woman receives physical attention from an off-screen or partially visible attendant, implying sensual pleasure

What Critics Said

Contemporary critical reception is virtually non-existent as these films were distributed underground and not reviewed by mainstream press. The films were designed purely for titillation rather than artistic merit, and any 'criticism' would have come from moral authorities rather than film critics. Modern film historians and scholars view these works as important historical artifacts that reveal early cinematic practices and attitudes toward sexuality. They are studied primarily for their historical value rather than their artistic or entertainment qualities, with scholars noting their role in the development of erotic cinema as a genre.

What Audiences Thought

The intended audience for 'In the Bath' consisted primarily of men seeking erotic entertainment, likely viewing the films in private screenings, brothels, or at home. The films were considered scandalous and were consumed clandestinely. Given the premium prices these films commanded, they were likely viewed primarily by wealthier patrons who could afford them. The audience reception was probably one of titillation and curiosity, as moving images of nude women were a novel experience in 1909. The films' popularity is evidenced by Schwarzer's continued production of similar content until his arrest.

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