The Black Witch
"A Marvelous Display of Oriental Magic and Mystical Apparitions."
Plot
Set against a beautifully painted Arabian backdrop, the film follows a foreign settler and his wife relaxing in their spacious, exotic home. Their domestic peace is suddenly interrupted when a mysterious African witch appears on their balcony in a sudden puff of smoke. The witch proceeds to demonstrate her supernatural prowess to the astonished couple, performing a series of magical feats and transformations. In one notable sequence, she approaches a vessel of burning incense and, through mystical gestures, causes the ethereal figure of a young girl to rise from the smoke. The film concludes with a display of further 'trick' effects characteristic of the early scènes de féeries genre.
About the Production
The film was produced during the height of the 'scènes de féeries' (fairy film) craze in France. It utilized elaborate hand-painted backdrops and the 'pochoir' (stencil) coloring process, which was a signature of Pathé's high-end productions at the time. The film is approximately 100 meters in length, which was a standard size for short 'trick' films of the era. It was imported to the United States and distributed by Pathé's American branch shortly after its French debut.
Historical Background
In 1907, the film industry was transitioning from a novelty to a global business. Pathé Frères was the largest film equipment and production company in the world, dominating the international market. This period saw a fascination with 'The Orient' and the supernatural, often blending colonialist perspectives with fantasy. The film was made just as the 'Motion Picture Patents Company' (the Trust) was beginning to form in the U.S., which would soon attempt to limit the influence of foreign producers like Pathé.
Why This Film Matters
The film is a primary example of the 'scènes de féeries' genre, which bridged the gap between 19th-century stage magic and 20th-century special effects. It reflects the early cinema's obsession with visual spectacle over narrative complexity. Additionally, the film's use of racial caricature provides a historical record of the problematic tropes that were embedded in early mass entertainment.
Making Of
The production relied heavily on the technical expertise of Pathé's stencil-coloring department, which employed hundreds of women to meticulously apply color to each frame of the film. The 'magic' effects were achieved through 'stop-substitution' (stopping the camera to swap or remove objects) and double exposure. The set design was created by Pathé's in-house scenic artists, who specialized in the 'féerie' style—a theatrical tradition characterized by lavish costumes and fantastical machinery. The director remains uncredited, as was common for Pathé productions of this period, though the style is heavily influenced by the work of Segundo de Chomón, who was working for Pathé at the time.
Visual Style
The camera remains stationary throughout the film, mimicking the perspective of a theater audience. The visual appeal comes from the intricate, hand-painted Arabian set and the vibrant, multi-colored stencil work. The lighting is flat and even, typical of early studio filming, to ensure that the hand-applied colors would remain clear and distinct.
Innovations
The film is a notable showcase for the Pathécolor (pochoir) process, which allowed for a level of color detail and consistency that was far ahead of simple hand-tinting. It also demonstrates the refined use of the 'stop-motion' substitution trick to create seamless magical appearances.
Music
As a silent film, it had no recorded soundtrack. It would have been accompanied by live piano or a small pit orchestra in larger theaters, often playing popular 'exotic' or 'mystical' themes of the day.
Memorable Scenes
- The appearance of the witch in a puff of smoke on the balcony.
- The mystical girl rising from the vessel of incense.
Did You Know?
- The film is also known by its original French title, 'La Sorcière noire'.
- It was released in the United States on December 28, 1907.
- The film features early examples of 'blackface' performance, as the 'African witch' was portrayed by a performer in dark makeup, a common but controversial practice in early 20th-century cinema.
- It was part of a series of films that Pathé produced to compete with the popular trick films of Georges Méliès.
- The film uses the 'pochoir' stencil-coloring technique, where individual frames were colored by hand using stencils.
- The film's catalog number in the Pathé archives is 1872.
- It was often screened as part of a variety program alongside newsreels and comedies.
- The 'Arabian' setting was a popular trope in early silent cinema, reflecting the 'Orientalism' prevalent in European art and culture at the time.
What Critics Said
At the time of its release, trade publications like 'The Views and Film Index' praised the film for its visual beauty and the effectiveness of its trick photography. Modern film historians view it as a visually impressive but narratively thin example of the Pathé house style, noting that while its effects were less innovative than those of Méliès, its use of color was superior.
What Audiences Thought
Early audiences were primarily drawn to the film's vivid colors and the 'magic' of seeing objects appear and disappear. In the early 1900s, the novelty of moving pictures was still fresh, and the added element of stencil-color made 'The Black Witch' a premium attraction in nickelodeons and fairgrounds.
Film Connections
Influenced By
- The 'féerie' theatrical tradition
- The trick films of Georges Méliès
- 19th-century Orientalist painting
This Film Influenced
- The Thief of Bagdad (1924)
- Later fantasy 'trick' films of the 1910s
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Film Restoration
Preserved. A 35mm stencil-colored print exists and has been restored by archives including the Cineteca del Friuli. It was featured in the BFI's 'Fairy Tales: Early Colour Stencil Films from Pathé' collection.