The Burlesque Suicide, No. 2

Plot

A dissipated man sits at a table with a decanter of whiskey and a glass beside him. A revolver rests on the opposite side of the table, suggesting a moment of decision. He pours a glass of whiskey and begins to drink it with a despairing expression, but then changes his mind and grabs the revolver, placing it against his temple as if to end his life. In a sudden reversal, he puts the gun down, drinks the whiskey with a contented smile, and defiantly thumbs his nose at the audience, revealing the entire dramatic sequence to be a comedic burlesque.

Historical Background

This film was produced during a pivotal moment in cinema history, just a few years after the birth of narrative filmmaking. In 1902, films were still primarily shown in vaudeville houses and fairgrounds as novelty attractions. The Edison Manufacturing Company, led by Thomas Edison, was one of the dominant forces in early American cinema, engaged in fierce competition with other studios like Biograph and Vitagraph. This period saw the transition from actuality films (documenting real events) to fictional narratives with actors and simple plots. The film also reflects the more permissive attitudes of the era regarding content that would later be restricted by censorship codes. The burlesque approach to serious subjects like suicide was common in early cinema, as filmmakers explored the boundaries of what could be shown and what audiences would find entertaining.

Making Of

The film was created during the peak of the Edison Manufacturing Company's film production period. George S. Fleming, who directed this film, was one of Edison's key directors working out of the Bronx studio. The production would have been extremely simple by modern standards - likely shot in a single take with one stationary camera. The actor, whose name is lost to history, would have been a regular performer in Edison's stock company of players. The entire production probably took less than an hour to film, as was typical for these one-minute subjects. The whiskey was likely water or tea, as real alcohol would have been expensive and potentially problematic for multiple takes. The film was processed and developed on-site at Edison's facilities, allowing for quick turnaround from filming to distribution.

Visual Style

The cinematography in this film is typical of the Edison Studio's work in 1902. The film was shot with a single stationary camera positioned to capture the entire action in one wide shot, as camera movement was not yet common. The lighting would have been natural or simple studio lighting, resulting in the high contrast and slightly washed-out appearance characteristic of early films. The composition places the actor and the key props (whiskey, glass, revolver) clearly visible within the frame, ensuring the narrative could be understood without intertitles. The black and white film stock of the era had limited sensitivity, requiring bright lighting conditions. The camera was hand-cranked, meaning the frame rate could vary, though Edison's cameras were generally operated at approximately 16 frames per second.

Innovations

While not groundbreaking in technical terms, this film demonstrates the solid technical quality of Edison productions in 1902. The film was shot on Edison's own 35mm film stock using their patented equipment. The exposure and development show the company's expertise in the relatively new medium of motion pictures. The film's clear composition and readable action demonstrate an understanding of how to stage scenes for the camera. The single-take approach, while simple, required careful timing and performance coordination to effectively tell the story within the severe time constraints of early films. The preservation of the film allows us to study early acting techniques and cinematic storytelling methods.

Music

As a silent film, 'The Burlesque Suicide, No. 2' had no synchronized soundtrack. In 1902, musical accompaniment for films was typically provided live by the venue, ranging from a single pianist in smaller theaters to a small orchestra in larger venues. The music would have been chosen to match the mood of the film - likely starting with dramatic music during the suicide setup, then switching to upbeat, comic music for the final reveal. Edison did produce some cylinders with suggested music for their films, but most accompaniment was improvised by the musicians. The sound effects, if any, would have been created live by theater staff using various props and devices.

Memorable Scenes

• The final moment when the actor thumbs his nose at the audience after revealing the suicide attempt was a joke, breaking the fourth wall in an early example of direct audience address in cinema.

What Critics Said

Contemporary critical reception of this film is difficult to trace, as film criticism as we know it today did not exist in 1902. Reviews, if any, would have appeared in trade papers like the New York Clipper or Variety, which primarily focused on the commercial viability of films for exhibitors. The Edison Company's films were generally well-regarded by exhibitors for their technical quality and reliable entertainment value. Modern film historians view this film as an interesting example of early narrative comedy and a product of its time, showing both the limitations and the creative experimentation of the earliest years of cinema.

What Audiences Thought

Audience reactions to this film in 1902 would have been largely positive, as the comedic twist on a dramatic setup would have provided the kind of surprise and amusement that early film audiences enjoyed. The thumbing of the nose at the audience would have been particularly effective in creating a direct connection with viewers. The film's brevity and clear visual storytelling made it accessible to audiences of all backgrounds and literacy levels. As part of a varied program of short films, it would have served as a light interlude between more dramatic or educational subjects. The subject matter, while potentially shocking by modern standards, was considered acceptable entertainment in the more permissive cultural atmosphere of the early 1900s.

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