The '?' Motorist (1906)

Sorry, this movie sucks

Fresh and Exciting

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

R W Paul was an influential British film maker in the early days of cinema. Sadly a lot of his output has been lost.The motorist from 1906 remains and we see the embryonic influence of early slapstick such as the policeman being run over and then chasing after car is something that will come to prominent a few years later in Hollywood silents with the likes of Charlie Chaplin.We also see here the debt to Georges Melies as there is a lot of trick photography as well as art and set direction inspired by Melies output such as a car driving in space and on the rings of Saturn.Some of the special effects are not on par with Melies but we see these short films moving on from being just point and shoot.

I saw this film today along with quite a few other silent shorts at the German Film Museum in Frankfurt. And, if you want to see it, perhaps you'll want to stop by as well. It is among the best of the shorts they showed--mostly because it was so incredibly stupid--and I mean that in a very positive way! This film begins with some insane drivers out for a ride. A cop tries to stop them and he gets run over for his troubles. But, since this is a wacky film, he's okay AND the drivers begin doing nutty things. I loved seeing the trick shot where the car seemed to drive up the wall! Later, it even flew through space. This was pretty cheesy, but for 1906 it was great. Overall, an incredibly creative and silly film--one that elicited a few laughs when it was played today.

This is an exceptional trick film from early cinema. The trick film was one of the most popular genres of the time, popularized and created by Georges Méliès. This one by Robert W. Paul and Walter R. Booth is superior to Méliès's films in the respect that it's not chained to the tableau style of storytelling that Méliès relentlessly pursued in his attempt to make film an extension of theatre. That is, instead of one complete scene followed by another, generally linked by dissolves, this film is linked by simple, continuously smoother cuts. Scenes are somewhat dissected and action moves from shot to shot in a modern continuity fashion. It also isn't confined to the stage--the cramped studio in which Méliès worked with the camera taking the position of the proscenium arch.The open space allows for the common gag of a car running over a man (replaced by a dummy), which is technically done fairly well here for the time. From there, the car and occupants drive up a building and up to the sky and, eventually, outer space. The sky and outer space bit seems characteristic of what Méliès had been doing. The final gag is also quite clever--playing with the notion of the good 'ole horse carriage as safe and the newfangled automobile as dangerous: a common theme in trick films. This is zany, fun stuff, and I can see why these "cinema of attractions" continued to coexist with the generally less entertaining story films. Apparently, having since left Paul and Paul having since left the movie business, Booth remade this in 1911 as "The Automatic Motorist".

This old curio is good fun to watch and is very creative in using the techniques available to film-makers at the time. It starts with a car driving along - in itself still something of a novelty then - and the car quickly gets involved in a series of fantastical adventures. It's filled with special effects that are excellent for the era, and that are still entertaining to watch. It gives the feeling of a free-wheeling, uninhibited approach, and yet the quality shows it to have been very carefully made. In its historical context it is also interesting, as a look at attitudes towards automobiles and the changes they brought.