Título original: Le chevalier de Maison-Rouge
Director: Albert Capellani
Año: 1914
País: Francia
Guion: basado en la novela de Alejandro Dumas, padre
Fotografía: Louis Forestier
Intérpretes: Paul Escoffier, Mévisto, Marie-Louise Derval, Léa Piron, Georges Dorival, Jean Jacquinet, Jane Maylianes, Mary Massart, Henri Rollan, Georges Flateau, Émile Mylo
Duración: 109 min.
Producción: Pathé Frères
Argumento: El caballero de la casa roja es una novela escrita en 1845 por Alejandro Dumas padre, como parte de una serie que se refiere a las novelas de María Antonieta. Situado en París durante el reinado del terror, la novela narra las aventuras de un valiente joven llamado Mauricio Lindey que sin querer se involucra en una trama realista para rescatar a María Antonieta de la prisión. Maurice se dedica a la causa republicana, pero su enamoramiento con una mujer joven y bella lo lleva al servicio del caballero misterioso de la casa roja, el cerebro detrás de esta aventura.
Datos Técnicos:
1914 - Le chevalier de Maison-Rouge (Albert Capellani) [cineforum-clasico.org].avi [1002.19 Mb]
Subtítulos en español creados por hel:
http://www.subdivx.com/bajar.php?id=362689&u=7
Pues hel y yo retomamos el ciclo pendiente sobre Capellani con esta película basada en la novela de Alejandro Dumas, padre. A la espera de que aparezcan nuevas películas, solo nos quedaría otra película que traer para cerrar el ciclo. Por si alguien alguna vez se topa con una película de Capellani que no tengamos aquí, os dejo los títulos de películas suyas de las que tengo buenas referencias: The Red Lantern (1919), La Glu (1913), L’épouvante (1911), Le pain des petits oiseaux (1911), Notre-Dame de Paris (1911), L’intrigante (1910), La mort du duc d’Enghien en 1804 (1909), L’homme aux gants blancs (1908), L’Arlésienne (1908), Le chemineau (1905).
KRISTIN THOMPSON:
Código: Seleccionar todo
Two final French features
Apparently Capellani made eight films in 1914, but as far as I know, only two survive. Both happen to deal with the French Revolution, and both are based on 19th-Century novels: Le Chevalier de Maison-Rouge (Dumas) and Quatre-Vingt-Treize (Hugo).
Last year I suggested that Le Chevalier might be a bit of a let-down after the heights of Les Misérables and Germinal. But it would be hard to match Germinal, and I have to admit that upon seeing Le Chevalier again on DVD, it kind of grew on me. The main problem, I think, is that Capellani doesn't take much trouble to give the characters traits and make them sympathetic. They seem more like game pieces in service to the plot. But as always the staging and acting are marvelous, and both locations and sets, as I suggested above, give a vivid sense of revolutionary Paris.
Oddly, though, for the first time there are signs that Capellani is being influenced by cinematic trends of the day and is trying to expand his style in a somewhat tentative way. Clearly, like so many filmmakers, he has seen Cabiria and been impressed by its lumbering tracking shots. The tribunal near the end where the young lovers, Maurice and Geneviève, are condemned uses such a tracking movement well, pulling out from the lovers and the court to include the crowd that welcomes the death sentences:
In a few scenes Capellani also explores offscreen space in a way that I haven't seen in his other films. Most dramatically, when Maurice sneaks up to the house where he hopes to see Geneviève, he appears small in the distance, disappears out the bottom of the high-angle framing, and suddenly reappears very close in the foreground, having somehow climbed up to a window:
In one scene Capellani even cuts in for a closer view and a different angle during a letter-writing scene. It's a bit clumsy, with a mismatch on the man's position--though not one that is worse than many attempted matches in European cinema of the 1910s:
The cut-in isn't really necessary, though, and one would expect Capellani not to use it. This is one of the few moments in all the films shown where briefly Capellani seems truly old-fashioned, catching up with a technique that had already been in use for a few years. Here I wish he had stuck to his accustomed long shots, for it's a sign of things to come. The next year Capellani would be working in the U.S. and making a smooth transition into continuity editing.
http://www.davidbordwell.net/blog/2011/07/14/capellani-trionfante/
Saludos