Music, Forward!

Plot

In this early trick film, a lady dressed in Colonial costume commands five musicians to march forward with the order 'Music, Forward!' The industrious musicians play their instruments as she arranges them in a row. In a display of magical transformation, the lady removes each musician's head and tosses them onto a giant musical staff, where each head becomes a musical note. The disembodied bodies reappear, and the manipulator proceeds to wrap the entire group in a large sheet of music. When the sheet is shown to the audience, it contains nothing. The paper is then rolled up again, and a cane is held perpendicular to the sheet in the final mysterious tableau.

Historical Background

The year 1907 represents a pivotal moment in early cinema history. Film had transitioned from a novelty attraction to a legitimate form of entertainment, with dedicated cinemas beginning to replace vaudeville halls as primary exhibition venues. The French film industry, particularly Pathé Frères, dominated global cinema production. This period saw the development of film language and storytelling techniques, with filmmakers like Georges Méliès and Segundo de Chomón pushing the boundaries of what was possible through special effects. The era was characterized by experimentation with the medium's unique ability to create impossible scenarios and magical transformations. Colonialism was at its height, influencing popular culture and entertainment, which explains the Colonial costume choice. The music theme reflects the period's growing interest in synchronization between moving images and musical accompaniment, though true synchronized sound was still decades away.

Making Of

The creation of 'Music, Forward!' involved sophisticated special effects techniques for its time. Segundo de Chomón employed multiple exposure photography to create the illusion of the musicians' heads detaching and floating onto the musical staff. The transformation of heads into musical notes required careful frame-by-frame manipulation. Julienne Mathieu, as the central performer, had to maintain precise positions between takes to ensure the continuity of the trick effects. The film was likely shot on Pathé's studio sets using hand-cranked cameras, requiring the actors to perform at very specific speeds. The production team used substitution splicing - stopping the camera, making changes to the scene, then restarting filming - to create many of the magical transformations. The sheet of music that appears empty was achieved through a clever use of double exposure, first showing the wrapped musicians, then exposing the same film again with only the empty sheet.

Visual Style

The cinematography of 'Music, Forward!' employs the standard techniques of early trick films, utilizing multiple exposure photography to create magical transformations. The camera work is static and theatrical, typical of the era, with the action taking place within a single frame. The film uses careful lighting to ensure the visibility of the special effects, particularly in the sequences involving the floating heads and their transformation into musical notes. The musical staff was likely painted on glass and positioned at an angle to create the illusion of depth. The cinematography required precise timing and coordination between the camera operator and performers to achieve the seamless effects. The film was shot on 35mm film, standard for Pathé productions, using hand-cranked cameras that required consistent speed to maintain proper exposure. The visual style emphasizes clarity and legibility of the trick effects over naturalistic representation, reflecting the period's fascination with the camera's ability to create impossible visions.

Innovations

'Music, Forward!' showcases several technical achievements that were innovative for 1907. The film's use of multiple exposure photography to create the illusion of floating heads was particularly sophisticated for the period. The transformation sequence, where heads become musical notes, required precise frame-by-frame manipulation and careful planning. The substitution splicing techniques used to make musicians appear and disappear from the sheet of music demonstrate de Chomón's mastery of early editing techniques. The film also employs careful matte work to create the illusion of the giant musical staff. These effects were all achieved in-camera or through laboratory processes, as optical printers and post-production special effects were not yet available. The film represents an important step in the development of cinematic special effects, showing how filmmakers could create impossible scenarios through technical ingenuity. The seamless integration of multiple effects within a single narrative sequence was particularly advanced for its time and influenced subsequent developments in trick cinema.

Music

As a silent film from 1907, 'Music, Forward!' had no synchronized soundtrack. However, during its original exhibition, the film would have been accompanied by live music, typically a piano or small ensemble. The musical accompaniment would have been chosen to complement the on-screen action, likely featuring marches or light classical pieces appropriate to the Colonial costume and military-style formations. The music would have emphasized the magical transformations and helped maintain audience engagement during the brief runtime. In some venues, particularly in France, the accompaniment might have included sound effects created manually to enhance the trick sequences. Modern screenings of the film typically feature period-appropriate musical scores or contemporary compositions inspired by early cinema. The film's title and musical theme suggest that the original accompaniment played a crucial role in the overall viewing experience, bridging the gap between the silent images and the audience's understanding of the musical narrative.

Memorable Scenes

• The magical sequence where the lady removes each musician's head and transforms them into musical notes on a giant staff, showcasing de Chomón's mastery of multiple exposure and substitution effects

What Critics Said

Contemporary critical reception of early short films like 'Music, Forward!' is difficult to trace, as film criticism as we know it today did not yet exist. However, trade publications of the era often praised de Chomón's technical ingenuity and magical effects. The film was likely well-received by audiences who appreciated the clever illusions and technical sophistication. Modern film historians and scholars recognize 'Music, Forward!' as an important example of early trick cinema and de Chomón's contribution to the development of special effects. The film is frequently cited in studies of early cinema and the work of Segundo de Chomón, often noted for its sophisticated use of multiple exposure and substitution effects. Contemporary critics of silent film appreciate the film for its playful approach to the relationship between music and visual imagery, as well as its demonstration of early cinematic magic.

What Audiences Thought

Early cinema audiences of 1907 were typically fascinated by trick films like 'Music, Forward!' that showcased impossible transformations and magical effects. These films were often the highlights of mixed programs that included newsreels, actualities, and other short subjects. The combination of music, magic, and humor in de Chomón's work made it particularly popular with audiences seeking entertainment that could only be achieved through the new medium of cinema. The film's brevity and visual spectacle made it accessible to diverse audiences regardless of language or cultural background. Contemporary viewers likely marveled at the seamless transformations and the apparent violation of natural laws, which were the primary attractions of early cinema. The film's musical theme would have resonated with audiences of the era, as live musical accompaniment was standard for film exhibitions. Modern audiences viewing the film in archival contexts or retrospectives appreciate it as a historical artifact that demonstrates the creativity and technical innovation of early filmmakers.

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