American Cinematographer - July 1989 - 85
The country
itself is one of
landscapes that present
almost geometric compositions to the
eye. The land is as flat as the sur¬
showmen to travel around the
coun¬
horizontal
try showing motion pictures. Around
face of its inland
films of area events to lend their
shows local interest. One sunny Sat¬
sea.
Windmills, trees
and historic
buildings rise in con¬
spicuous relief. It is not surprising
that the prevailing cinematographic
images of the Netherlands are
cleanly composed and carefully bal¬
anced.
When the
early motion pic¬
neighboring France
England invaded what was then
1901
they began producing short
urday in July 1905 Willy directed and
Albert photographed Mesaventure
van een Fransch heertje zonder panta¬
lon op het strand to Zandvoort (Mis¬
adventure of a French Gentleman
Without Trousers on the Beach of
Zandvoort). This little gem seems
ture devices from
ahead of its time in terms of
and
edy construction, photography and
editing. A dignified Frenchman,
snoozing in his basket chair, awakes
called Holland
-
M. Doublier of
Lumiere arrived
eral
cameras
early in 1896 - sev¬
were
purchased. Among
the first movie
Franz Anton
entrepreneurs was
Noggerath the elder,
the head of a showbiz family, who
contracted with Warwick Trading
Company of England to be the agent
for the American Bioscope.
Noggerath Sr., in 1899, di¬
rected and photographed a recon¬
struction of the visit of King William
III of Orange to Amsterdam's Vondelpark. This brief film, with a fair¬
sized cast wearing 17th Century uni¬
forms, required staging of a scope
rarely attempted anywhere before.
The Mullens brothers, Willy
and Albert, were among the earliest
to
find that the tide has
come
com¬
in and
surrounded him. He is forced to
rip
off his pants as he struggles to reach
the shore, and when he emerges he
is chased over the beach and through
the streets by the police and an in¬
furiated mob. The camera pans
freely, reaction close-ups
are
inter¬
cut, and the locations are utilized
effectively.
Several studios
were
estab¬
some
Below: Kaisa
achieved
Leppaneti and
Oliva Joini in
of them directed by Binger -
worldwide distribution.
The studio also undertook co-production with British and American
interests. Other companies of the
early period
were Rembrandt Film
and FAN Film (headed by F. A.
during the early part of the
century, the most successful being
Hollandia Filmfabriek in Haarlem,
founded by a printer, Maurits Bin-
The outbreak of World War
ger. The varied Hollandia comedies,
melodramas and serious dramas -
I in 1914 halted the
Dutch
exporting of
films, and the burgeoning film
industry was virtually strangled.
Only a handful of pictures were
made each year for the compara¬
tively unprofitable local market, but
by 1920 the industry was back on
its feet
Northerners
(1925). Above:
Village ambi¬
Noggerath Jr.).
lished
the Finnish
drama, The
ence
in The
Spanish
tragedy, The
Accursed
Village (1929).
again.
Hollandia, the best of the
Dutch
companies, weathered the
austerity of the war but closed in
1923 following Binger's death. Again
production slowed, with only a few
small companies making sporadic
films.
Although light comedies
and
melodramas
remained
as
staples, the most distinctive and
influential silent era contribution
from the Netherlands is its rich tra¬
dition of documentary films. This
tradition flowered in the late 1920s,
at
a
time when the
industry
was
in
the doldrums, through the efforts of
a few maverick writers and cinema¬
tographers. The most gifted of these
was a young Communist destined
for international acclaim, Joris Ivins.
"Your set is the world and
have to look all around before
focusing your camera on a comer of
it," Ivens advised aspiring documenyou
tarians in his book, "The Camera
and I"
(New York, Berlin 1969). "The
newsreel tells
us
where-when-what;
the
documentary film tells us why,
and the relationship between
events." Bom in
100
-
Year Start
1898, Ivens
on
was
Tomorrow
27a
American Cinematographer - July 1989
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