Scene from the Elevator Ascending Eiffel Tower
"A Marvelously Clear Picture Taken From the Top of the Elevator of the Eiffel Tower"
Plot
This pioneering documentary short captures the breathtaking journey of an elevator ascending and descending the Eiffel Tower during the 1900 Paris Exposition. The camera, mounted on the elevator car, provides audiences with a spectacular point-of-view perspective as it rises 1,000 feet from the ground to the tower's summit. As the elevator climbs, viewers witness the magnificent Exposition grounds and the city of Paris unfolding beneath them in increasingly panoramic views. Upon reaching the top, the film offers sweeping bird's-eye vistas of the Exposition grounds, looking toward the Trocadero and the Palace of Electricity. The descent provides a reverse perspective of this remarkable journey, creating a complete sensory experience of vertical movement through space that was revolutionary for cinema in 1900.
Director
About the Production
The film required mounting a heavy early cinema camera on an elevator car, which was a significant technical challenge for 1900. The crew had to secure the camera equipment to prevent vibration and ensure steady footage during the ascent and descent. The entire 200-foot film was shot in one continuous take, requiring precise coordination with the elevator operators. Edison's catalog specifically mentioned they could furnish the ascent alone in a 125-foot version for exhibitors who preferred shorter presentations.
Historical Background
This film was created during the golden age of the Paris Exposition, a massive world's fair that showcased the technological and artistic achievements of the turn of the century. The Exposition Universelle of 1900 was particularly significant as it celebrated the achievements of the past century and heralded the promise of the new one. The Eiffel Tower, built for the 1889 Exposition, remained the world's tallest man-made structure and symbolized France's industrial prowess. In the world of cinema, 1900 marked a transitional period when films were moving from simple novelty acts to more sophisticated storytelling and documentary forms. Edison Manufacturing Company was engaged in fierce competition with European filmmakers, particularly the Lumière brothers in France, for dominance in the emerging motion picture market. This film represents the American perspective on a French landmark, demonstrating the international nature of early cinema and the global fascination with technological marvels.
Why This Film Matters
This film holds immense cultural significance as one of the earliest examples of point-of-view cinematography and what would become known as the travelogue genre. It demonstrates how early filmmakers quickly moved beyond recording static scenes to creating immersive experiences for audiences. The film's perspective - putting viewers literally in the elevator car - represents a fundamental innovation in cinematic language that would influence countless future films. It also exemplifies the early 20th century fascination with height, speed, and technological progress, themes that would recur throughout cinema history. The film serves as a valuable historical document, preserving views of the 1900 Paris Exposition that would otherwise be lost to time. It represents the convergence of two revolutionary technologies of the era - motion pictures and iron architecture - in a single artistic statement about human achievement and perspective.
Making Of
The production of this film required overcoming significant technical challenges inherent to early cinema. The camera equipment of 1900 was bulky, heavy, and required manual cranking to operate. Mounting such equipment on a moving elevator car without causing excessive vibration was a remarkable engineering achievement for the time. The filmmakers had to work closely with the Eiffel Tower staff to coordinate filming times that wouldn't interfere with regular tourist traffic. The camera operator had to maintain consistent hand-cranking speed throughout the entire ascent and descent to ensure smooth playback. Lighting was entirely natural, requiring filming during optimal daylight conditions. The film crew likely had to make multiple attempts to achieve the steady, clear footage that Edison's catalog praised. The entire operation represented a significant investment of time and resources for Edison's company, demonstrating their commitment to capturing spectacular actuality subjects from around the world.
Visual Style
The cinematography of this film represents a remarkable achievement for its era. The entire piece consists of a single, continuous point-of-view shot from an ascending and descending elevator. The camera remains fixed throughout, creating a stable frame that emphasizes the movement of the world outside. The composition gradually reveals increasingly panoramic views as the elevator rises, demonstrating an intuitive understanding of visual storytelling. The filmmakers achieved remarkable clarity and stability considering the technical limitations of 1900 camera equipment. The natural lighting provides authentic documentation of the Paris Exposition grounds. The vertical movement of the camera creates a unique spatial experience that was unprecedented in cinema at the time. The careful framing ensures that key landmarks and exposition buildings are visible throughout the journey, turning the film into both a thrill ride and a documentary record.
Innovations
This film represents several significant technical achievements for 1900. The successful mounting and operation of a motion picture camera on a moving elevator car demonstrated remarkable engineering ingenuity. The ability to maintain steady, clear footage throughout the vertical journey overcame substantial technical challenges related to camera stability and vibration control. The film showcases the early use of point-of-view photography, a technique that would become fundamental to cinematic language. The production required careful coordination between the film crew and elevator operators to ensure smooth operation and optimal filming conditions. The preservation of clear images throughout the journey demonstrates advances in film stock quality and exposure techniques. The entire piece was shot in one continuous take, requiring precise timing and execution from all involved. The film also represents an early example of location shooting at a significant distance from the production company's home base.
Music
As a silent film from 1900, this work had no synchronized soundtrack. During exhibition, it would have been accompanied by live musical performance typical of the era. The music could have ranged from a solo pianist to a small ensemble, depending on the venue's resources. The accompaniment would likely have been dramatic and exciting during the ascent, perhaps using popular marches or classical pieces that conveyed wonder and achievement. During the panoramic views at the top, more contemplative or majestic music might have been played. The descent might have featured music that mirrored the upward journey. The choice of accompaniment was left to individual exhibitors, who selected music they felt appropriate for the film's spectacular nature and the tastes of their local audiences.
Did You Know?
- This film represents one of the earliest examples of what would later be called 'phantom rides' - point-of-view shots that simulate the viewer's movement through space
- The Eiffel Tower, completed in 1889, was still relatively new and considered a modern marvel when this film was made in 1900
- The Paris Exposition of 1900 attracted over 50 million visitors, making it an ideal subject for early filmmakers
- James H. White was one of Edison's most prolific directors, responsible for numerous actuality films in the late 1890s and early 1900s
- The film was shot using Edison's own 35mm film format, which would later become the industry standard
- At $30.00 per 200-foot print, this film was relatively expensive for its time, reflecting the exotic location and technical challenges involved
- The camera used was likely an Edison Vitascope or similar early motion picture camera, which weighed approximately 20-30 pounds
- This film predates the famous 'Panorama of Eiffel Tower' by the Lumière brothers by several months
- The Edison catalog emphasized the 'sensational effect' of the film, recognizing the psychological impact on viewers of this new perspective
- Early cinema audiences were known to react physically to such films, sometimes feeling vertigo or motion sickness from the simulated movement
What Critics Said
Contemporary reception was documented primarily through Edison's own promotional materials, which described the film as producing 'a most sensational effect' and praised its 'marvelously clear picture.' The Edison catalog emphasized the novelty and excitement of the perspective, noting how it would astonish spectators. Modern film historians recognize this work as an important example of early actuality filmmaking and point-of-view cinematography. Critics and scholars appreciate the film for its technical ambition and its role in developing cinematic language. The film is frequently cited in studies of early cinema as an example of how filmmakers quickly discovered the emotional and psychological impact of camera movement and perspective. It is regarded as a precursor to later developments in immersive cinema and even virtual reality concepts.
What Audiences Thought
Early cinema audiences of 1900 were reportedly thrilled by this film's innovative perspective. The simulated ascent and descent created a physical sensation that was novel and exciting for viewers who had never experienced such visual movement before. Contemporary accounts suggest that audiences would often react physically to such films, sometimes gripping their seats or experiencing mild vertigo. The film's exotic location - the famous Eiffel Tower - added to its appeal, as many viewers would never have the opportunity to visit Paris or see the tower in person. The film was popular enough that Edison offered it in two different lengths, suggesting strong demand from exhibitors. It represented the kind of spectacular actuality that drew audiences to early motion picture shows, offering them virtual travel experiences that were impossible through any other medium of the time.
Film Connections
Influenced By
- Edison's earlier actuality films
- Lumière brothers' actualities
- Early travel photography
- Panoramic painting traditions
- 19th century dioramas
- Magic lantern shows
This Film Influenced
- Panorama from Times Building
- 1901
- ,
- A Trip Down Market Street
- 1906
- ,
- Hale's Tours of the World
- series (1905-1911)
- Manhattan
- 1921
- ,
- Berlin: Symphony of a Great City
- 1927
- ],
- similarFilms
- Panorama of Eiffel Tower,Lumière, 1900),Panoramic View of the Champs Elysées,1900,,,Arrival of a Train at La Ciotat,1895,,,Rough Sea at Dover,1895,,,The Black Diamond Express,1896,],,famousQuotes,A marvelously clear picture taken from the top of the elevator of the Eiffel Tower during going up and coming down of the car.,This wonderful tower is 1,000 feet in height, and the picture produces a most sensational effect.,As the camera leaves the ground and rises to the top of the tower, the enormous white city opens out to the view of the astonished spectator.,memorableScenes,The initial moment when the elevator begins its ascent, showing the ground receding rapidly below,The panoramic views at the summit revealing the entire Paris Exposition grounds, with the Trocadero and Palace of Electricity clearly visible,The descent sequence providing a reverse perspective of the journey, creating a dizzying effect as the ground approaches,preservationStatus,The film is preserved in several archives including the Library of Congress and the Museum of Modern Art's film collection. It has been digitized and is available through various historical film archives. The original nitrate prints have been carefully preserved or transferred to safety film. Multiple copies exist in different film archives worldwide, suggesting the film was widely distributed and survived in various forms. The quality of surviving prints varies, with some showing the deterioration typical of early nitrate film, while others remain remarkably clear.,whereToWatch,Library of Congress National Screening Room,Museum of Modern Art Film Collection,Early Cinema databases,YouTube (through archive uploads),Various educational film streaming services specializing in historical cinema,Kanopy (for academic institution members),Internet Archive