Dream Factories and Radio Pictures (5 page)

* * *

They sat in comfortable chairs. Satie played a medley of popular songs, those he knew by heart from his days as the relief piano player at the Black Cat; Méliès, who had a very good voice, joined Pablo and Rousseau (who was sorry he had not brought his violin) in a rousing rendition of “The Tired Workman’s Song.”

Jarry and Proust sat with unlit cigars in their mouths.

“Is it true you studied with Professor Bergson, at the Lycée Henri IV?” asked Marcel. “I was class of ’91.”

“We are found out,” said Alfred. “We were class of all the early 1890s, and consider ourselves his devoted pupil still.”

“Is it his views on time, on duration? His idea that character comes in instants of perception and memory? Is it his notion of memory as a flux of points in the mind that keeps you under his spell?” asked Proust.

“He makes us laugh,” said Jarry.

* * *

They spent the rest of the evening—after meeting and bidding goodnight to the Méliès children, and after Madame Méliès rejoined them—playing charades, doing a quick round of Dreyfus Parcheesi, and viewing pornographic stereopticon cards, of which Georges had a truly wonderful collection.

* * *

They said their goodbyes at the front gate of the Montreuil house. Pablo had already gone, having a hot date with anyone at a certain street address, on his kangaroo bicycle; Rousseau walked the two blocks to catch an omnibus; Satie, as was his wont, strode off into the night at a brisk pace whistling an Aristide Bruant tune; he sometimes walked twenty kilometers to buy a piece of sheet music without a second thought.

Marcel’s coachman waited. Jarry stood atop the Méliès wall, ready to step onto his ordinary. Georges and Madame had already gone back up the walkway.

Then Marcel made a Proposal to Alfred, which, if acted upon, would take much physical activity and some few hours of their time.

“We are touched by many things lately,” said Jarry. “We fear we grow sentimental. Thank you for your kind attention, Our Dear Marcel, but we must visit the theater, later to meet with Pablo to paint scenery, and our Royal Drug Larder runs low. We thank you, though, from the bottom of our heart, graciously.”

And he was gone, silently, a blur under each gas lamp he passed.

For some reason, during the ride back to Faubourg Ste.-Germain, Marcel was not depressed as he usually was when turned down. He too, hummed a Bruant song. The coachman joined in.

Very well, very well, thought Proust. We shall give them a Dreyfus they will
never
forget.

XI. The Enraged Umbrella

I
N THE PARK, TWO DAYS LATER,
Marcel thought he was seeing a runaway carousel.

“Stop!” he yelled to the cabriolet driver. The brake squealed. Marcel leapt out, holding his top hat in his hand. “Wait!” he called back over his shoulder.

There was a medium-sized crowd, laborers, fashionable people out for a stroll, several tricycles and velocipedes parked nearby. Attention was all directed toward an object in the center of the crowd. There was a wagon nearby, with small machines all around it.

What Marcel had at first taken for a merry-go-round was not. It
was
round, and it did go.

The most notable feature looked like a ten-meter-in-diameter Japanese parasol made of, Marcel guessed, fine wire struts and glued paper. Coming down from the center of this, four meters long, was a central pipe, at its bottom was a base shaped like a plumb bob. Above this base, a seat, pedals and set of levers faced the central column. Above the seat, halfway down the pipe, parallel to the umbrella mechanism, was what appeared to be a weathervane, at the front end of which, instead of an arrow was a spiral, two-bladed airscrew. At its back, where the iron fletching would be, was a half-circle structure, containing within it a round panel made of the same stuff as the parasol. Marcel saw that it was rotatable on two axes, obviously a steering mechanism of some sort.

Three men in coveralls worked at the base; two holding the machine vertical while the third tightened bolts with a wrench, occasionally giving the pedal mechanism a turn, which caused the giant umbrella above to spin slowly.

Obviously the machine was very lightweight—what appeared to be iron must be aluminum or some other alloy, the strutwork must be very fine, possibly piano wire.

The workman yelled. He ran the pedal around with his hand. The paper-wire umbrella moved very fast indeed.

At the call, a man in full morning suit, like Marcel’s, came out from behind the wagon. He walked very solemnly to the machine, handed his walking stick to a bystander, and sat down on the seat. He produced two bicyclist’s garters from his coat and applied them to the legs of his trousers above his spats and patent-leather shoes.

He moved a couple of levers with his hands and began to pedal, slowly at first, then faster. The moving parasol became a flat disk, then began to strobe, appearing to move backwards. The small airscrew began a lazy revolution.

There was a soft growing purr in the air. Marcel felt gentle wind on his cheek.

The man nodded to the mechanics, who had been holding the machine steady and upright. They let go. The machine stood of its own accord. The grass beneath it waved and shook in a streamered disk of wind.

The man doffed his top hat to the crowd. Then he threw another lever. The machine, with no strengthening of sound or extra effort from its rider, rose three meters into the air.

The crowds gasped and cheered.
“Vive la France!”
they yelled. Marcel, caught up in the moment, had a terrible desire to applaud.

Looking to right and left beneath him, the aeronaut moved a lever slightly. The lazy twirling propeller on the weathervane became a corkscrewing blur. With a very polite nod of his head, the man pedaled a little faster.

Men threw their hats in the air; women waved their four-meter-long scarves at him.

The machine, with a sound like the slow shaking-out of a rug, turned and moved slowly off toward the Boulevard Haussmann, the crowd, and children who had been running in from all directions, following it.

While one watched, the other two mechanics loaded gear into the wagon. Then all three mounted, turned the horses, and started off at a slow roll in the direction of the heart of the city.

Marcel’s last glimpse of the flying machine was of it disappearing gracefully down the line of an avenue above the treetops, as if an especially interesting woman, twirling her parasol, had just left a pleasant garden party.

Proust and the cabriolet driver were the only persons left on the field. Marcel climbed back in, nodded. The driver applied the whip to the air.

It was, Marcel would read later, the third heavier-than-air machine to fly that week, the forty-ninth since the first of the year, the one-hundred-twelfth since man had entered what the weeklies referred to as the Age of the Air late year-before-last.

XII. The Persistence of Vision

T
HE SOUND OF HAMMERING AND SAWING
filled the workshop. Rousseau painted stripes on a life-sized tiger puppet. Pablo worked on the silhouette jungle foliage Henri had sketched. Jarry went back and forth between helping them and going to the desk to consult with Proust on the scenario. (Proust had brought in closely written pages, copied in a fine hand, that he had done at home the first two days; after Jarry and Méliès drew circles and arrows all over them, causing Marcel visible anguish, he had taken to bringing in only hastily worded notes. The writers were trying something new—both scenario and title cards were to be written by them.)

“Gentlemen,” said Satie, from his piano in the corner. “The music for the degradation scene!” His left hand played heavy bass notes, spare, foreboding. His right hit every other note from “La Marseillaise.”

“Marvelous,” they said. “Wonderful!”

They went back to their paintpots. The Star Films workmen threw themselves into the spirit wholeheartedly, taking directions from Rousseau or Proust as if they were Méliès himself. They also made suggestions, explaining the mechanisms which would, or could, be used in the filming.

“Fellow collaborators!” said Méliès, entering from the yard. “Gaze on our Dreyfus!” He gestured dramatically.

A thin balding man, dressed in cheap overalls entered, cap in hand. They looked at him, each other, shifted from one foot to another.

“Come, come, geniuses of France!” said Méliès. “You’re not using your imaginations!”

He rolled his arm in a magician’s flourish. A blue coat appeared in his hands. The man put it on. Better.

“Avec!”
said Méliès, reaching behind his own back, producing a black army cap, placing it on the man’s head. Better still.

“Voilà!”
he said, placing a mustache on the man’s lip.

To Proust, it was the man he had served under seven years before, grown a little older and more tired. A tear came to Marcel’s eye; he began to applaud, the others joined in.

The man seemed nervous, did not know what to do with his hands. “Come, come, Mr. Poulvain, get used to applause,” said Méliès. “You’ll soon have to quit your job at the chicken farm to portray Captain Dreyfus on the international stage!” The man nodded and left the studio.

Marcel sat back down and wrote with redoubled fury.

* * *

“Monsieur Méliès?” asked Rousseau.

“Yes?”

“Something puzzles me.”

“How can I help?”

“Well, I know nothing about the making of cinematographs, but, as I understand, you take the pictures, from beginning to the end of the scenario, in series, then choose the best ones to use after you have developed them?”

“Exactement!”
said Georges.

“Well, as I understand (if only Jarry and Proust would quit diddling with the writing), we use the same prison cell both for the early arrest scenes, and for Dreyfus’ cell on Devil’s Island?”

“Yes?”

“Your foreman explained that we would film the early scenes, break the backdrops, shoot other scenes, and some days or hours later reassemble the prison cell again, with suitable changes. Well, it seems to me, to save time and effort, you should film the early scenes, then change the costume and the makeup on the actor, and add the properties which represent Devil’s Island, and put those scenes in their proper place when the scenes are developed. That way, you would be through with both sets, and go on to another.”

Méliès looked at him a moment. The old artist was covered with blobs of gray, white, and black paint. “My dear Rousseau; we have never done it that way, since it cannot be done that way in the theater. But . . .”

Rousseau was pensive. “Also, I noticed that great care must be taken in moving the camera, and that right now the camera is to be moved many times in the filming. Why not also photograph all the scenes where the camera is in one place a certain distance from the stage, then all the others at the next, and so on? It seems more efficient that way, to me.”

“Well,” said Méliès. “That is surely asking too much! But your first suggestion, in the interest of saving time with the scenery. Yes. Yes, we could possibly do that! Thank you . . . as it is going now, the trial may very well be over before we even
begin
filming—if someone doesn’t shoot Dreyfus as he sits in court since his return from Devil’s Island even
before
that. Perhaps we shall try your idea . . .”

“Just thinking aloud,” said Rousseau.

* * *

“Monsieur Director?” said Marcel.

“Yes?”

“Something puzzles me.”

“Yes?”

“I’ve seen few Lumièreoscopes—”

“That name!” said Méliès, clamping his hands over his ears.

“Sorry . . . I’ve seen few films, at any rate. But in each one (and it comes up here in the proposed scenario) that we have Dreyfus sitting in his cell, on one side, the cutaway set of the hut with him therein; then the guard walks up and pounds on the door. Dreyfus gets up, goes to the door, opens it, and the guard walks in and hands him the first letter he is allowed to receive from France.”

“A fine scene!” said Méliès.

“Hmmm. Yes. Another thing I have seen in all Lu—in moving pictures is that the actors are always filmed as if you were watching them on stage, their whole bodies from a distance of a few meters away.”

“That is the only way it is done, my dear Marcel.”

“Perhaps . . . perhaps we could do it another way. We see Dreyfus in his hut, in his chair. We show only his upper body, from waist to head. We could see the ravages of the ordeal upon him, the lines in his face, the circles under his eyes, the gray in his hair.”

“But . . .”

“Hear me, please. Then you show a fist, as if it were in your face, pounding on the door. From inside the hut Dreyfus gets up, turns, walks to the door. Then he is handed the letter. We see the letter itself, the words of comfort and despair . . .”

Méliès was looking at him as if there were pinwheels sticking from his eye sockets.

“ . . . can you imagine the effects on the viewer?” finished Marcel.

“Oh yes!” said Méliès. “They would scream. Where are their legs? Where are their arms? What is this writing doing in my eye?!!!”

“But think of the impact! The drama?”

“Marcel, we are here to plead for justice, not frighten people away from the theater!”

“Think of it! What better way to show the impact on Dreyfus than by putting the impact on the spectator?”

“My head reels, Proust!”

“Well, just a suggestion. Sleep on it.”

“I shall have nightmares,” said Méliès.

* * *

Pablo continued to paint, eating a sandwich, drinking wine.

* * *

“Méliès?” said Jarry.

“(Sigh) Yes?”

“Enlighten us.”

“In what manner?”

“Our knowledge of motio-kineto-photograms is small, but one thing is a royal poser to us.”

“Continue.”

“In our wonderful scene of the nightmares . . . we are led to understand that Monsieur Rousseau’s fierce tigers are to be moved by wires, compressed air, and frantic stagehands?”

“Yes.”

“Our mind works overtime. The fierce tigers are wonderful, but such movement will be seen, let us say, like fierce tigers moved by wires, air, and stage-labor.”