Le coucher de la mariée
"A peek behind the curtain of the honeymoon suite."
Plot
A newlywed couple enters their bridal suite on their wedding night, filled with anticipation and playful nervousness. The bride, portrayed with a mix of modesty and flirtatiousness, requests that her husband remain behind a decorative folding screen while she prepares for bed. As she meticulously removes her numerous layers of Victorian-era clothing—including her jacket, dress, and multiple petticoats—the husband intermittently peeks over the screen with lecherous curiosity. He attempts to distract himself by reading a newspaper or mopping his brow, but his excitement frequently gets the better of him. The film concludes with the couple finally uniting by the bed, capturing a staged but risqué moment of intimacy for the era.
About the Production
The 1907 version is a remake or re-release of the highly successful 1896 film of the same name. While the original was produced by Eugène Pirou, Pathé Frères—having acquired many early film rights and negatives—produced this updated version to meet the continued demand for 'naughty' or 'saucy' films in their catalog. The production utilized a fixed camera position and a theatrical set design, typical of the 'cinema of attractions' period where the focus was on the spectacle of the undressing rather than complex narrative editing.
Historical Background
In 1907, cinema was transitioning from a fairground attraction to a more regulated industry. However, 'stag films' or 'scènes grivoises' remained a highly profitable underground and semi-public market. This was the era of the 'Belle Époque' in France, where a fascination with the 'modern woman' and a loosening of Victorian-era moralities coexisted with strict public censorship. Films like this were often shown in 'men-only' screenings or in the backrooms of cafes.
Why This Film Matters
The film is a primary example of the 'voyeuristic' roots of early cinema. It established the 'bride's bedtime' as a recurring trope in erotic media that would persist for decades. It also highlights the early film industry's reliance on adapting successful stage pantomimes to the new medium of moving pictures. Its existence in the Pathé catalog shows that even major studios were not above producing 'adult' content to ensure financial stability.
Making Of
The production was shot in a single take using a painted theatrical backdrop. The use of a folding screen was a clever narrative device that allowed for a 'tease' effect, building anticipation for the audience. Unlike modern films, the actors were likely from the 'café-concert' or cabaret circuit, as they were comfortable with the pantomime style required for silent eroticism. The husband's exaggerated reactions (mopping his brow, looking over the screen) were intended to mirror and validate the male spectator's own excitement.
Visual Style
The film employs a static 'proscenium' shot, where the camera acts as a stationary observer in the front row of a theater. There are no close-ups or camera movements; the 'action' is entirely contained within the frame. The lighting is flat and even, typical of early studio work, though some prints featured Pathé's signature stencil coloring.
Innovations
The primary technical achievement was the use of Pathé's stencil-coloring process (Pathécolor) on certain prints, which was one of the first successful methods for mass-producing color films. This added a layer of 'realism' to the skin tones and fabrics that was highly effective for the genre.
Music
As a silent film, it had no recorded soundtrack. It was typically accompanied by a live pianist or a phonograph playing popular 'gaudriole' (bawdy) songs or light comedic music.
Memorable Scenes
- The 'Petticoat Sequence': The bride removes nearly half a dozen layers of underskirts, a scene that highlights the complexity of 1900s fashion and serves as the film's primary 'action.'
- The Peeking Husband: The recurring visual gag of the husband popping his head over the screen while the bride is unaware (or pretending to be).
Did You Know?
- This film is often confused with the 1896 original directed by Albert Kirchner (Léar), which is considered the first erotic film in history.
- The 1907 Pathé version was specifically marketed in their 'Scènes Grivoises' (Saucy Scenes) catalog category.
- The actress in these films often performed a 'striptease' that was adapted from popular contemporary stage pantomimes at the Olympia Theater in Paris.
- Despite being labeled as 'erotic,' the bride never actually appears fully nude; she remains in a chemise or corset, which was considered scandalous enough for the time.
- The film features 'breaking the fourth wall,' as the actors frequently look directly into the camera to acknowledge the audience's voyeuristic presence.
- Pathé produced several variations of this theme, including 'Le Coucher de la Parisienne' and 'La Puce,' to capitalize on the 'naughty' film market.
- The 1907 version was often hand-colored (stencil colored) by Pathé’s workshop to enhance its visual appeal and 'flesh tones.'
- Early film catalogs often listed this film under English titles like 'Bedtime for the Bride' or 'The Bridegroom's Dilemma' for international export.
What Critics Said
At the time of its release, the film was not 'reviewed' in the traditional sense by high-brow critics, as it was considered low-brow entertainment. However, it was a commercial success in fairgrounds. Modern film historians view it as a crucial artifact in the study of early film genre development and the history of sexuality on screen.
What Audiences Thought
Audiences of the time—primarily male—received these films with great enthusiasm. They were often screened in traveling cinemas where the 'naughty' nature of the content was a major draw. The humor derived from the husband's frustration was as much a part of the appeal as the sight of the bride undressing.
Film Connections
Influenced By
- The 1896 original film by Albert Kirchner
- French theatrical pantomimes of the 1890s
- Gaston Pollonnais' stage play 'Le Coucher de la mariée'
This Film Influenced
- The 'Stag Film' genre of the 1920s
- Early Hollywood 'pre-code' comedies
- Modern romantic comedies featuring 'wedding night' tropes
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Film Restoration
Fragments of the Pathé version exist in various film archives, including the Cinémathèque Française. Much of the original footage from this era has been lost due to nitrate decomposition, but the 'striptease' portion is the most commonly preserved segment.