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Un drame à Séville

Weitere Titel: Drama in Sevilla (D, Ö)/ A Drama in Seville (UK, USA) - Szenario: André Heuzé - Länge: 155m - s/w - Interpreten: Max Linder {der Rivale}, Magda Simon - Produktion: Pathé Frères - Katalog-Nr.: 1844/Aug.07 - UA: 16. August 1907 (Paris/ Théâtre Montparnasse) — Weitere Auff.: 5.10.07 (Wien/ Sofiensaal, "The Royal Bio Co.")

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Ein Drama in Seville , welches gleichzeitig die Naturaufnahme eines Stierkampfes mit allen seinen aufregenden Szenen enthält und dabei auch die spanischen Gesellschaftstypen gut kennen lernen läßt, spielt sich in weiterer Folge vor unseren Augen ab. Die äußerst sensationelle Inszenierung dieses Dramas dürfte besonderen Beifall finden. (Innsbrucker Nachrichten, 22.2.1908)

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[Drama] An excellent collection of new subjects has been issued by Pathé Frères to whose ingenuity in devising new effects there seems no end. "A Drama in Seville," one of the new subjects, is a good illustration of their cleverness in staging and photography. It might almost be described as two subjects in one, for the picture of the bull fight, which is one of its leading features, would be popular apart from the good plot cleverly worked round it. The story tells of a matador - the leading figure in the Spanish bull ring - whose lady love proves fickle. He finds her in a restaurant with another man, quarrels with the latter, and the two adjourn to the courtyard, where a duel in the Spanish fashion, with daggers and a cloak wound round the arm, ends in the matador wounding his rival. The lady goes off with the wounded man, and the matador despondently takes his way to the ring, and from his dressing room sends a reproachful note to the lady, in which he expresses a fear that his impending appearance in the ring will be his last. This communication the girl tears up, and with her lover makes her way to the ring to see the sport. The following scene gives us glimpses alternately of the girl and her companions watching the bull baiting and of the actual scenes in the ring, which have been obviously taken from a real bull fight, and are a most realistic record of the Spanish national sport. Men with red cloaks madden the bull, lead it round the arena at a furious charge, and then avoid its rush with a quick turn. These events take place in many cases so close to the camera that one can distinguish the features of the men. Following this the picadors, mounted on worn-out horses and armed with lances, take their turn. This is one of the most disgusting features of the actual sport, for the feeble animals are quite unable to withstand the rushes of the bull, which customarily gores several of them. Fortunately, though several horses are seen being brought down, the objectionable parts have been omitted from the present film. After the picadors the bandilleroes take a turn, plant their spears in the bulls' shoulders, and make way for the matador, the hero of the story, whose place it is to give the coup-de-grace. This hero take his place before the bull, and has raised his sword to give the blow, when the animal rushes at him, with head down, and hurls him into the air. The battered man is then carried to a room outside the ring, and expires in the presence of his repentant sweetheart, who afterwards indignantly dismisses the rival. This subject is undoubtedly one of the best of those issued this week, and should be seen. (Kinematograph and Lantern Weekly, Oct. 3, 1907)

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C’est l’histoire d’un matador dont la maîtresse est quelque peu volage. Il la trouve un jour dans un restaurant avec un autre homme. Il a une querelle avec celui-ci. Ils se retrouvent peu après pour un duel à la manière espagnole avec dague et poignard. Le matador blesse son rival qui repart avec la jeune femme. Le matador retourne aux arènes d’où il écrit à la jeune femme une lettre de reproches dans laquelle il lui dit que le prochain combat sera le dernier. La jeune femme déchire la lettre et avec son amoureux va aux arènes voir la corrida. Les scènes suivantes nous montrent, tantôt la jeune femme et son compagnon regardant la corrida, tantôt les scènes dans l’arène: l’arrivée du taureau, les jeux de capes, les picadors, les banderilleros, etc.… Le matador, héros de l’histoire, est mortellement blessé au moment où il va estoquer la bête. Il expire peu après en présence de la jeune femme repentante. (Henri Bousquet, Catalogue Pathé des années 1896 à 1914, Bures-sur-Yvette, Editions Henri Bousquet, 1994-2004)

 

 

 

Aufführung/Release/Sortie: Ad. in "Le Rideau artistique et littéraire", 1907 (A10,N519). A participation of Magda Simon is mentioned in O Pharol, 21.10.1916.

Eine Kopie des Films wird verwahrt in: Archives du Film du CNC (Bois d'Arcy), George Eastman House (Rochester), bfi/National Film and Television Archive (London), Cineteca del Comune di Bologna (Bologna), Lobster Films (Paris)

 

 

 

 

 

 

 

 

UNTERTITEL:

 

1. Toreador's love. 2. The day of the corrida. 3. On scene. 4. Paseo (intake). 5. Corrida. 6. Fencing. 7. Bullfighter. 8. Banderillos. 9. The last parting. 10. The accident. 11. The transport to the hospital. 12. I forgive you. (Program "Biograf-Theatern FAVORIT")

 

 

 

 

 

 

 

 

 

 

 

 

Weitere Filmbeschreibungen/Kritiken:

 

Ein Toreador wird von einem Stier auf die Hörner genommen; wahre Begebenheit. Es handelt sich hier um einen Verzweiflungsakt wegen der Untreue der Braut. (Anzeigentext, Der Kinematograph, 16.10.1908)

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A young Spaniard wins the good graces of a beautiful senorita in a cafe, much to the disgust of a rival. She tosses him a flower, which results in his being challenged to a duel by the other man. The next scene shows the combat. They fight with dirks, but are interrupted by the lady herself, who comes between the daggers, and they are forced to stop. The lady, her favored suitor and a party go to the bullfight. The arena is shown, and after the parade in the ring the bull is released and the fight is on. Suddenly the unsuccessful lover, attired as matador, appears in front of the party, salutes and plunges into the fray. The fight is fierce, the maddened bull plunging around. The lady's lover is struck by the animal. His form goes hurtling through the air and is trampled on by the bull. The party rush from their seats in panic. The last picture shows the matador on a cot, a doctor in attendance. The lady enters, and when he sees her he smiles feebly and dies, while she falls over the still form sobbing. (Pathé films [Supplement 1], 1908)