Alice Guy-Blaché

Alice Ida Antoinette Guy-Blaché (née Guy; July 1, 1873 – March 24, 1968) was a French pioneer filmmaker, active from the late 19th century, and one of the first to make a narrative fiction film.[2] She was the first woman to direct a film. From 1896 to 1906, she was probably the only female filmmaker in the world.[3] She experimented with Gaumont's Chronophone sync-sound system, and with color-tinting, interracial casting, and special effects.[4]

Alice Guy-Blaché
Alice Guy-Blaché in 1913
Born
Alice Ida Antoinette Guy

(1873-07-01)July 1, 1873
Saint-Mandé, Val-de-Marne, France
DiedMarch 24, 1968(1968-03-24) (aged 94)
Wayne, New Jersey, U.S.[1]
Resting placeMaryrest Cemetery, Mahwah, New Jersey, U.S.
NationalityFrench
OccupationFilmmaker, director, screenwriter, producer, actress
Years active1894–1922
Spouse(s)
​
​
(m. 1907; div. 1922)​
Children2

She was artistic director and a co-founder of Solax Studios in Flushing, New York. In 1912, Solax invested $100,000 for a new studio in Fort Lee, New Jersey, the center of American filmmaking prior to the establishment of Hollywood. That year, she made the film A Fool and His Money, probably the first to have an all-African-American cast. The film is now at the National Center for Film and Video Preservation at the American Film Institute.[5]

Early life and education

In 1865,[6] Alice's father, Emile Guy, an owner of a bookstore and publishing company in Santiago, Chile and Valparaíso, Chile, married Marie Clotilde Franceline Aubert. The couple returned to Santiago after the wedding in Paris. In early 1873, Marie and Emile lived in Santiago, with Alice's four siblings.

There was a devastating smallpox epidemic in Chile in 1872 and 1873.[7] Emile and Marie Guy brought all four of their children back to Paris, where Alice was born. In her autobiography, Alice refers to this as her mother's attempt to make sure "one of her children should be French". Her father returned to Chile soon after her birth, and her mother followed a few months later. Alice was entrusted to her grandmother in Carouge, Switzerland.[8] At the age of three or four, Alice's mother returned from Chile and took Alice back to South America.

At the age of six, Alice was taken back to France by her father to attend school at the Convent of the Sacred Heart (also known as the Faithful Companions of Jesus) on the French side of the Swiss border in Veyrier, France (arrondissement of Viry). (Her sisters were already there.) Alice and her sister Rose were moved to a convent in Ferney a few years later and then brought back to Paris.

Alice's father died on January 5, 1891 of unknown causes.[9] Following his death, Alice trained as a typist and stenographer, a new field at the time, to support herself and her widowed mother. She landed her first stenography-typist job at a varnish factory. In March 1894, she began working at the 'Comptoir général de la photographie' owned by Felix-Max Richard. Léon Gaumont later took over and headed the company.[10][11]

Career

Gaumont, France

In 1894, Guy-Blaché was hired by Felix-Max Richard to work for a camera manufacturing and photography supply company as a secretary. The company changed hands in 1895 due to a court decision against Felix-Max Richard who sold the company to four men: Gustave Eiffel, Joseph Vallot, Alfred Besnier, and Léon Gaumont. Gustave Eiffel was president of the company, and Léon Gaumont, thirty years Eiffel's junior, was the manager. The company was named after Gaumont because Eiffel was the subject of a national scandal regarding the Panama Canal.[12] L. Gaumont et Cie became a major force in the fledgling motion-picture industry in France. Alice continued to work at Gaumont et Cie, a decision that led to a pioneering career in filmmaking that spanned more than 25 years and involved her directing, producing, writing and/or overseeing more than 700 films.[13]

Although she initially began working for Léon Gaumont as his secretary, she began to become familiar with myriad clients, relevant marketing strategies, and the company's stock of cameras. She also met a handful of pioneering film engineers such as Georges Demenÿ and Auguste and Louis Lumière.[14]

Guy-Blaché and Gaumont attended the "surprise"[15] Lumière event on March 22, 1895. It was the first demonstration of film projection, an obstacle that Gaumont and the Lumières (as well as Edison) were racing to solve. They screened one of their early films Workers Leaving the Lumière Factory, and it consisted of a simple scene of workmen leaving the Lumière plant in Lyon. Bored with the idea of captured film only being used for the scientific and/or promotional purpose of selling cameras in the form of "demonstration films", she was confident that she could incorporate fictional story-telling elements into film. She asked Gaumont for permission to make her own film, and he granted it.

Guy-Blaché's first film, and arguably the world's first narrative film, was titled La Fée aux Choux (The Cabbage Fairy), in 1896. The scene Alice described does not match either the 1900 version or the 1902 version that have been discovered. Alice said she filmed the first version in 1896. A July 30, 1896 newspaper describes a "chaste fiction of children born under the cabbages in a wonderfully framed chromo landscape" and provides other details that confirm Alice's description of her first film.[16][17][18] Making decisions on who made what first, is made difficult, due to over 90% of the films made prior to 1910 having been lost.[19]

From 1896 to 1906, Guy-Blaché was Gaumont's head of production and is generally considered to be the first filmmaker to systematically develop narrative filmmaking. She was probably the only female director from 1896 to 1906.[20] Her earlier films share many characteristics and themes with her contemporary competitors, such as the Lumières and Méliès. She explored dance and travel films, often combining the two, such as Le Bolero performed by Miss Saharet (1905) and Tango (1905). Many of Guy-Blaché's early dance films were popular in music-hall attractions such as the serpentine dance films – also a staple of the Lumières and Thomas Edison film catalogs.[10]

In 1906, she made The Life of Christ, a big budget production for the time, which included 300 extras. She used the illustrated Tissot Bible as reference material for the film, which featured 25 episodes and was her largest production at Gaumont to date. In addition to this, she was one of the pioneers in the use of audio recordings in conjunction with the images on screen in Gaumont's "Chronophone" system, which used a vertical-cut disc synchronized to the film. She employed some of the first special effects, including using double exposure, masking techniques, and running a film backwards.[21] During her tenure at Gaumont, Guy-Blaché hired and trained Louis Feuillade and Étienne Arnaud as writers and directors, and hired set designer Henri Ménessier and art director Ben Carré.

Solax
Still from Two Little Rangers (1912)

In 1907, Alice Guy married Herbert Blaché, who was soon appointed the production manager for Gaumont's operations in the United States. After working with her husband for Gaumont in the U.S., the two struck out on their own in 1910, partnering with George A. Magie in the formation of The Solax Company, the largest pre-Hollywood studio in America.[13][21]

With production facilities for their new company in Flushing, New York, her husband served as production manager as well as cinematographer, and Guy-Blaché worked as the artistic director and directed many of its releases. Within two years, they had become so successful that they invested more than $100,000 into new and technologically advanced production facilities in Fort Lee, New Jersey. Many early film studios were based in Fort Lee at the beginning of the 20th century.[22][23][24] It was mentioned in publications of the era that Guy-Blaché placed a large sign in her studio that read: 'Be Natural'.[13]

In 1913, Guy-Blaché directed The Thief, the first script sold by future Wonder Woman creator William Moulton Marston.

Guy-Blaché and her husband divorced several years later, and with the rise of the more hospitable and cost-effective climate in Hollywood, their film partnership also ended.

Legacy

In the late 1940s, Guy-Blaché wrote an autobiography; it was published, in French, in 1976, and was translated into English a decade later with the help of her daughter Simone, daughter-in-law Roberta Blaché, and the film writer Anthony Slide. Guy-Blaché was tremendously concerned with her unexplained absence from the historical record of the film industry. She was in constant communication with colleagues and film historians correcting previously made and supposedly factual statements about her life. She crafted lengthy lists of her films as she remembered them, with the hope of being able to assume creative ownership and get legitimate credit for them.[25]

She was the subject of a National Film Board of Canada documentary The Lost Garden: The Life and Cinema of Alice Guy-Blaché by director Marquise Lepage, which received Quebec's Gemeaux Award for Best Documentary.[26] In 2002, film scholar Alison McMahan published Alice Guy Blaché: Lost Visionary of the Cinema.[27] Guy-Blaché is considered by some to have been the first female filmmaker,[28] and from 1896 to 1920, she directed over 1,000 films, some 150 of which survive, and 22 of which are feature-length. She was one of the early women (along with Lois Weber) to manage and own her own studio: The Solax Company. Few of her films survive in an easily viewable format. In December 2018 Kino Lorber released a six-disc box, Pioneers: First Women Filmmakers, made in cooperation with the Library of Congress, the British Film Institute and others. The first disc of the set is devoted to the films of Alice Guy-Blaché and includes Matrimony's Speed Limit (1913) which was selected for preservation in the National Film Registry of the Library of Congress in 2003. [29][30][31] The 2018 documentary film Be Natural: The Untold Story of Alice Guy-Blaché, directed by Pamela B. Green and narrated by Jodie Foster, deals with Guy-Blaché's life, career, and legacy.[32]

Because of Be Natural: The Untold Story of Alice Guy-Blaché, many of Guy-Blaché's films were restored and preserved, and a pillar in her name will be featured at the Academy Museum of Motion Pictures.

In September 2019, Guy-Blaché was included in The New York Times series "Overlooked No More".[33]

Guy-Blaché was an early influence on both Alfred Hitchcock and Sergei Eisenstein.

Personal life
Catherine Calvert in House of Cards (1917), written and directed by Alice Guy-Blaché
Still from Tarnished Reputations (1920)

Guy-Blaché's marriage meant that she had to resign from her position working with Gaumont. The couple was sent by the Gaumont company to Cleveland to facilitate the franchise of Gaumont equipment. Early in 1908, the couple went to New York City where Guy-Blaché gave birth to her daughter, Simone in September 1908.[34] Two years later, Guy-Blaché became the first woman to run her own studio when she created Solax in Gaumont's Flushing studio. In 1912, when she was pregnant with her second child, she built a studio in Fort Lee, New Jersey, and continued to complete one to three films a week. On June 27, 1912, Reginald, her son is born. To focus on writing and directing, Guy-Blaché made her husband the president of Solax in 1913.[35]

Shortly after taking the position, Herbert Blaché started a film company named Blaché Features, Inc. For the next few years, the couple maintained a personal and business partnership, working together on many projects. In 1918, Herbert Blaché left his wife and children to pursue a career in Hollywood.[34] Guy-Blaché almost died from the Spanish flu pandemic in October 1919 while filming her final film Tarnished Reputations.[36] Following her illness, she joined Herbert in Hollywood in 1919 but they lived separately. She worked as Herbert's directing assistant on his two films starring Alla Nazimova.[34]

Guy-Blaché directed her last film in 1919. In 1921, she was forced to auction her film studio and other possessions in bankruptcy. Alice and Herbert were officially divorced in 1922. She returned to France in 1922 and never made another film.[34]

Death

Guy-Blaché never remarried, and in 1964 she returned to the United States to live in Wayne, New Jersey, with her older child, her daughter, Simone. On March 24, 1968, at the age of 94, Guy-Blaché died in a nursing home[37] in New Jersey. She is interred at Maryrest Cemetery.[38]

Accolades and tributes

In 1953, Guy-Blaché was awarded the Légion d'honneur, the highest non-military award France offers. On March 16, 1957, she was honored in a Cinématheque Française ceremony that went unnoticed by the press.[37]

In 2002, Circle X Theatre in Los Angeles produced Laura Comstock's Bag-punching Dog, a musical about the invention of cinema, and Guy-Blaché was a lead character. The musical was written by Jillian Armenante, Alice Dodd, and Chris Jeffries. In 2011, an off-Broadway production of Flight[39] premiered at the Connelly Theatre, featuring a fictionalized portrayal of Guy-Blaché as a 1913 documentary filmmaker.

In 2004, a historic marker dedicated to Guy-Blaché was unveiled at the location of Solax Studio by the Fort Lee Film Commission. In 2012, for the centennial of the founding and building of the studio, the Commission raised funds to replace her grave marker in Maryrest Cemetery in Mahwah, New Jersey. The new marker includes the Solax logo and notes Guy-Blaché's role as a cinema pioneer.

In 2010, the Academy Film Archive preserved Guy-Blaché's short film The Girl in the Arm-Chair.[40] In 2011, the Fort Lee Film Commission successfully lobbied the Directors Guild of America to accept Alice Guy-Blaché as a member.[41] She was subsequently awarded a posthumous "Special Directorial Award for Lifetime Achievement" at the 2011 DGA Honors.[42] In 2013, Guy-Blaché was inducted into the New Jersey Hall of Fame.[43][44]

In 2013, a square in the 14th arrondissement of Paris was named the Place Alice-Guy in her honor.

The Golden Door Film Festival gives an award named in her honor.

Selected filmography

See also

References

Notes

  1. As reported in the margins of p. 91 of birth certificate Archived March 31, 2014, at the Wayback Machine from the city of Saint-Mandé.
  2. "Alice Guy-Blaché". Biography.com. A&E Television Networks. Retrieved February 25, 2018.
  3. "Alice Guy-Blaché". Women Film Pioneers Project. Retrieved February 25, 2018.
  4. Weitzman, Elizabeth (April 26, 2019). "A Century Late, a Giant of Early Cinema Gets Her Closeup". The New York Times. Retrieved April 29, 2019.
  5. "AFI FEST". Retrieved February 25, 2018.
  6. Archives de Paris, Marriages, 18 Juilliet 1865, Clichy Hauts de Seine, 4 E/CLI_66.
  7. New York Times, South America, Terrible Ravages of Small-Pox on the West Coast, September 26, 1872. British Medical Journal, vol. 1, 1875
  8. Nicolas Aubert, her grandfather, died October 11, 1872
  9. Archives de Paris, Deces 6e arr. 5 Janvier 1891 V4E5962
  10. Simon, Joan (2009). Alice Guy Blaché Cinema Pioneer. ISBN 978-0-300-15250-0.
  11. Dietrick, Janelle, Alice & Eiffel
  12. Les premieres annees de la societe L. Gaumont et Cie, Correspondance commercialed de Leon Gaumont 1895–1899. Corcy, Malthete, Mannoni, Laurent, Meusy, 1998
  13. "The Lost Garden: The Life and Cinema of Alice Guy-Blaché". Nfb.ca. May 2, 2012. Retrieved June 24, 2012.
  14. Alice Guy (January 1, 1996). The Memoirs of Alice Guy Blaché. Scarecrow Press. ISBN 978-0-8108-3104-9.
  15. Bachy, Victor. Entretiens avec Alice Guy. p. 41.
  16. Gil Blas, July 30, 1896
  17. Dietrick, Janelle, Alice & Eiffel, A New History of Early Cinema and the Love Story Kept Secret for a Century, pp. 193–203, 2016
  18. Dietrick, Janelle, La Fée aux Choux, Alice Guy's Garden of Dreams, 2018
  19. https://www.loc.gov/programs/national-film-preservation-board/preservation-research/film-preservation-plan/redefining-film-preservation/, retrieved 1/4/2021
  20. "Alice Guy Blaché – Women Film Pioneers Project". wfpp.cdrs.columbia.edu. Retrieved March 31, 2016.
  21. Alison McMahan (January 1, 2002). Alice Guy Blaché: Lost Visionary of the Cinema. A&C Black. ISBN 978-0-8264-5158-3.
  22. Koszarski, Richard (2004), Fort Lee: The Film Town, Rome, Italy: John Libbey Publishing, ISBN 978-0-86196-653-0
  23. "Fort Lee Film Commission". Fort Lee Film Commission. Archived from the original on April 5, 2011. Retrieved December 19, 2016.
  24. Fort Lee Film Commission (2006), Fort Lee Birthplace of the Motion Picture Industry, Arcadia Publishing, ISBN 978-0-7385-4501-1
  25. Simon, Joan (2009). The Great Adventure: Alice Guy Blaché, Cinema Pioneer. Whitney Museum of American Art. pp. 1–5. ISBN 978-0-300-15250-0.
  26. "The Lost Garden: The Life and Cinema of Alice Guy-Blaché". Collection. National Film Board of Canada. Retrieved August 6, 2012.
  27. "Alice Guy Blaché: Lost Visionary of the Cinema". Bloomsbury Press. Retrieved May 25, 2018.
  28. Justin Morrow (March 9, 2017). "Alice Guy-Blaché, the World's First Female Filmmaker, Wrote, Directed, and Produced Over 700 Films". No Film School. Retrieved May 25, 2018.
  29. Castillo, Monica. "Kino Lorber's Pioneers: First Women Filmmakers Box Set is a Treasure Trove of Silent Film History | TV/Streaming | Roger Ebert". www.rogerebert.com. Retrieved May 5, 2020.
  30. "'Pioneers: First Women Filmmakers' Brings Forth a Time When, Unlike Today, Women Made Lots of Movies". PopMatters. January 25, 2019. Retrieved May 5, 2020.
  31. "Complete National Film Registry Listing | Film Registry | National Film Preservation Board | Programs at the Library of Congress | Library of Congress". Library of Congress, Washington, D.C. 20540 USA. Retrieved May 5, 2020.
  32. Leslie Felperin (May 13, 2018). "'Be Natural: The Untold Story of Alice Guy-Blache': Film Review | Cannes 2018". Retrieved May 25, 2018.
  33. New York Times (September 6, 2019). "Overlooked No More: Alice Guy Blaché, the World's First Female Filmmaker". New York Times.
  34. "Key Events in the Life and Legacy of Alice Guy Blaché". Aliceguyblance.com. Retrieved August 1, 2020.
  35. Moving Picture World, June 14, 1913, p. 1140
  36. Mme Blache Ill, The Film Daily, October 27, 1918, p. 7
  37. McMahan, Alison J. (1997). Madame a des envies (Madam has her cravings): A critical analysis of the short films of Alice Guy Blaché, the first woman filmmaker. Ph.D. dissertation, The Union Institute, United States—Ohio, from Dissertations & Theses: A&I (publication No. AAT 9817949).
  38. Alice Guy Blaché at Find a Grave
  39. "Flight". Pacific Performance Project East. 2012. Archived from the original on December 28, 2013. Retrieved June 23, 2012.
  40. "Preserved Projects". Academy Film Archive. Retrieved December 19, 2016.
  41. Svetlana Shkolnikova. "North.Jersey.com". NorthJersey.com. Retrieved November 11, 2014.
  42. "2011 DGA Honors Recipients Announced -". www.dga.org.
  43. Svetlana Shkolnikova. "New Jersey Hall of Fame". NorthJersey.com. Retrieved November 11, 2014.
  44. "2013 Inductees". New Jersey Hall of Fame. April 9, 2014. Retrieved April 25, 2020.

Bibliography

  • Acker, Ally. Reel Women: Pioneers of the Cinema, 1896 to the Present. New York: Continuum, 1990. Print.
  • Acker, Ally. Reel Women: The First Hundred Years (Two Volumes). New York: Reel Women Media, 2011. Print.
  • Dietrick, Janelle. Alice & Eiffel, A New History of Early Cinema and the Love Story Kept Secret for a Century. 2016, Print and ebook.
  • Dietrick, Janelle. Illuminating Moments: The Films of Alice Guy Blaché. 2017, Print and ebook.
  • Dietrick, Janelle. La Fée aux Choux, Alice Guy's Garden of Dreams. 2018, ebook.
  • McMahan, Alison. Alice Guy Blaché: Lost Visionary of the Cinema. New York: Continuum, 2002. Print.
  • McMahan, Alison. Alice Guy Blache The Research & Books of Alison Mcmahan. Aliceguyblache.com. Homunculus Productions.

McMahan, Alison. Key Events in the Life and Legacy of Alice Guy Blache -- last updated September 2019: https://aliceguyblache.com/chronology

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