The Obsession
Plot
The film centers on a concerned mother (Renée Carl) who visits a palm reader and receives a disturbing prophecy that a loved one will soon die. Filled with anxiety, she cannot determine whether the prediction refers to her son or her husband (René Navarre). The dramatic tension builds as the husband prepares to leave on a journey, with the historical significance of April 10, 1912 looming large - the date the Titanic set sail on its ill-fated maiden voyage. The narrative explores themes of fate, maternal love, and the helplessness of individuals in the face of destiny.
About the Production
This film was produced during Louis Feuillade's highly productive period at Gaumont, where he was creating numerous short films exploring psychological and social themes. The production would have utilized Gaumont's studio facilities and likely employed the natural lighting techniques common in French cinema of this era.
Historical Background
1912 was a pivotal year in cinema history, occurring during the transition from short films to longer narrative features. The film industry was rapidly professionalizing, with companies like Gaumont establishing production systems that allowed for consistent output. This was also the year of the Titanic disaster (April 15, 1912), which shocked the world and became a cultural touchstone. French cinema was particularly influential during this period, with directors like Feuillade helping to develop cinematic language and storytelling techniques that would influence filmmakers globally.
Why This Film Matters
The film represents an early example of cinema engaging with contemporary events and anxieties, demonstrating how quickly filmmakers could respond to cultural moments. It also exemplifies the French tradition of psychological drama and the exploration of fate and destiny themes that would become central to European cinema. The work contributes to our understanding of how early cinema audiences processed real-world tragedies through fictional narratives.
Making Of
The film was created during a remarkable period in French cinema when directors were exploring more sophisticated narrative techniques. Louis Feuillade was at the height of his creative powers at Gaumont, developing the psychological drama elements that would later characterize his famous serial works like 'Fantômas' and 'Les Vampires.' The casting of Renée Carl and René Navarre reflects Feuillade's use of a regular company of actors who understood his directorial style. The production would have been relatively quick by modern standards, typical of the high-volume output expected from directors during this era.
Visual Style
The cinematography would have employed the techniques common to French cinema of 1912, including stationary camera positions typical of the era, with careful composition to convey dramatic moments. The use of lighting would have been primarily natural or studio lighting, with attention to creating atmospheric effects appropriate to the palm reading scenes. The visual style would reflect the transition from the theatrical staging of earlier cinema to more cinematic approaches.
Innovations
While not known for technical innovations, the film represents the refinement of narrative techniques that were developing in 1912. The ability to create psychological tension and emotional drama within the constraints of early film technology demonstrates the sophistication achieved by French filmmakers of this period.
Music
As a silent film, it would have been accompanied by live musical performance during exhibition. The score would likely have been improvised by a theater pianist or organist, using standard musical cues for dramatic moments, suspense, and emotional scenes. The music would have followed the established conventions of silent film accompaniment, with different motifs for characters and situations.
Memorable Scenes
- The palm reading scene where the prophecy is delivered, creating the central tension of the narrative
Did You Know?
- Louis Feuillade was one of the most prolific directors of the early 1910s, often creating multiple films per month
- The film's timing with the Titanic disaster would have made it particularly resonant with contemporary audiences
- Renée Carl was a frequent collaborator with Feuillade, appearing in many of his films during this period
- René Navarre would later become famous for his role as Fantômas in Feuillade's celebrated serial
- Gaumont was one of the pioneering film companies in early cinema, founded by Léon Gaumont
- Palmistry and fortune-telling were popular themes in early cinema, reflecting contemporary interests in the occult
- The film represents an early example of using real historical events as narrative backdrop in cinema
What Critics Said
Contemporary critical reception of individual short films from 1912 is difficult to trace, as film criticism was still developing as a discipline. However, Feuillade's work during this period was generally well-regarded for its narrative sophistication and psychological depth. Modern film historians recognize his contributions to developing cinematic language and his ability to create compelling narratives within the constraints of early film technology.
What Audiences Thought
Audiences of 1912 would have been drawn to the film's dramatic premise and its connection to the recent Titanic disaster. The themes of fate and prophecy resonated strongly with early 20th-century audiences, who maintained significant interest in spiritualism and fortune-telling. The emotional core of a mother's anxiety about her family would have provided relatable dramatic content for contemporary viewers.
Film Connections
Influenced By
- Literary traditions of prophecy and fate
- Contemporary interest in spiritualism
- French literary realism
- Melodramatic traditions
This Film Influenced
- Later films about the Titanic
- Psychological dramas exploring fate
- French cinema of the 1910s and 1920s
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Film Restoration
Many films from this period, particularly short subjects, have been lost. The preservation status of this specific film would need to be verified through film archives such as the Cinémathèque Française or Gaumont's own collections.