This wonderful film was made in 1927 by Claude Friese-Greene. Colour film from the 1920s is exceptionally rare, and this is a very powerful example.
It shows scenes of London Bridge, the Thames, the Tower of London, Greenwich Observatory, the London docks, Whitehall, the Cenotaph, Trafalgar Square, Hyde Park, Marble Arch, Petticoat Lane, the Oval, the Changing of the Guard, Rotten Row, and the Houses of Parliament.
The Cenotaph sequence from around 3:37 to 3:54 is very poignant. This was filmed only nine years after the end of the Great War. The women and looking at the wreaths would very likely be wives and mothers of the men killed, and the Second World War was, at that time, inconceivable.
Claude Friese-Greene was the son of pioneering cinematographer William Friese-Greene, and devoted himself to developing commercially his father’s colour process " Biocolour " but without great success. It was soon overtaken by Technicolor and Claude abandoned the process. His role as a pioneer of colour film has now been recognised.
The footage is part of London’s Screen Archives and the British Film Archive.
The color is great and what imporesses me even more is the control of the motion. The camera seemed to have had a fixed takeup speed so that the people didnt have that "puppet walk" look.
A little time capsule. I would like to know what font the text is.
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boomerang
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Mon 1 Feb, 2010 09:01 am
@djjd62,
Lovely! Thanks djjd!
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ossobuco
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Mon 1 Feb, 2010 05:01 pm
@djjd62,
Wonderful, wonderful. Touching. Charming.
I liked the font, the text, liked the 'takeup' speed, the color, well... everything. What a treasure.
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msolga
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Mon 1 Feb, 2010 06:58 pm
@djjd62,
Wonderful stuff, djjd.
Thanks.
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georgeob1
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Mon 1 Feb, 2010 07:56 pm
@djjd62,
Fascinating. Thanks for posting it !
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joefromchicago
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Tue 2 Feb, 2010 09:29 am
@farmerman,
farmerman wrote:
The color is great and what imporesses me even more is the control of the motion. The camera seemed to have had a fixed takeup speed so that the people didnt have that "puppet walk" look.
I think by 1927 most motion picture cameras had fixed speeds, and the weird "too slow" or "too fast" motions we associate with silent films are more the result of a mismatch between the speed at which the films were shot and the speed at which most modern projectors run rather than any problems with inconsistent film speeds of the original cameras.