Angels with Dirty Faces
Angels with Dirty Faces is a 1938 American crime film directed by Michael Curtiz for Warner Brothers. It stars James Cagney, Pat O'Brien, The Dead End Kids, Humphrey Bogart, Ann Sheridan, George Bancroft; the screenplay was written by Warren Duff based on the story by Rowland Brown. The film chronicles the fictional fall of the notorious gangster William "Rocky" Sullivan. After spending three years in prison for armed robbery, Rocky intends to collect $100,000 from his co-conspirator, mob lawyer Jim Frazier. All the while, Father Jerry Connolly tries to prevent a group of youths from falling under Rocky's influence. Brown wrote the scenario in August 1937. After pitching the film to a number of studios, he made a deal with Grand National Pictures, who wanted Cagney to star in the lead role. However, the film never came to fruition, owing to Grand National's bankruptcy in 1939. Cagney returned to Warner the same year, taking Brown's script with him. Warner asked a number of directors to take on the project.
Principal photography began in June 1938 at Warner's Burbank studios, finished a week behind schedule in August, due to the time it took to shoot Rocky's standoff with the police and eventual execution. Angels with Dirty Faces was released on November 1938, to positive reviews. At the 11th Academy Awards, the film was nominated in three categories: Best Actor, Best Director, Best Story. Angels with Dirty Faces is considered to be one of the best movies of all time, is regarded as a defining moment in Cagney's career, it was shortlisted by the American Film Institute in 2008, was voted 67th in a list of the "100 Best Film Noirs of All Time" by Slant Magazine in 2015. In 1920, two youths, Rocky Sullivan and Jerry Connolly, attempt to rob a railroad car carrying fountain pens. Jerry escapes from the police, while Rocky is sentenced to reform school. Fifteen years Rocky is arrested for armed robbery, his lawyer and co-conspirator, Jim Frazier, asks him to take the blame and, in exchange, he will give Rocky the stolen $100,000 on the day he is released.
Rocky is sentenced to three years in prison. After serving his sentence, he returns to his old neighborhood and visits Jerry, now a Catholic priest. Jerry advises Rocky to get a place "in the old parish", so Rocky rents a room in a boarding house run by Laury Martin, a girl he bullied in school, he pays a visit to Frazier's casino. Frazier claims to have been unaware of Rocky's release, but he promises to have the $100,000 ready by the end of the week, he gives Rocky $500 spending money. Rocky is pickpocketed after leaving the casino; the culprits turn out to be a group of youths: Soapy, Bim, Pasty and Hunky. They admire Rocky's reputation and criminal lifestyle so, after retrieving his wallet, Rocky invites them to dinner. While they are eating, Jerry asks the gang why they have not been playing basketball. With Rocky's help, he convinces them to play against another team. At the match and Laury express equal concern over the negative influence Rocky may be having on the gang. While walking home, Frazier's hit squad makes an attempt on Rocky's life.
He survives and retaliates by kidnapping Frazier, raiding his house at gunpoint and stealing $2,000 and a ledger. Frazier's business partner, Mac Keefer, gives Rocky his $100,000 in full, but Mac informs the police of the kidnapping. Rocky is arrested, but after discovering he has possession of the ledger, Frazier tells the police it was all a "misunderstanding", Rocky is released. Jerry learns of the kidnapping, decides to go to the press to expose corruption in New York. Rocky tries unsuccessfully to reason with him. On the radio, Jerry denounces the corruption, as well as Rocky and Keefer. Frazier and Keefer assure Rocky that no harm will come to Jerry, but he overhears their plans to kill them both. Rocky kills Frazier and Keefer instead and, after escaping the casino, makes his way to an abandoned warehouse where he kills a police officer. A standoff ensues with other police. Jerry arrives and tries to reason with Rocky, telling him the entire building is surrounded, but Rocky takes him hostage.
While trying to escape, Rocky is caught. After standing trial, he is sentenced to death. On the night of his execution, Jerry pleads with Rocky to show people that he died a coward by begging for mercy on his way to the death house, citing the negative influence he has had on Soapy and the gang as his reason. Rocky refuses. Soapy and the gang read in the newspapers of how Rocky "turned yellow" in the face of his execution, they refuse to believe it. Jerry comes in and Soapy asks if it's true that Rocky had died a coward, Jerry confirms that it is true; the gang loses respect for Rocky and Jerry tells them to follow him to go say a prayer for "the boy who couldn't run as fast as I could". James Cagney as William "Rocky" Sullivan, a notorious gangster, who just got out of prison, he is portrayed by Frankie Burke during adolescence. Pat O'Brien as Fr. Jerry Connolly, a Catholic priest, Rocky's friend since childhood, he is portrayed by William Tracy during adolescence. Dead End Kids as Soapy, Bim, Pasty and Hunky.
Humphrey Bogart as Jim Frazier, a crooked lawyer associated with organised crime. He owes Rocky $100,000. Ann Sheridan as Laury Martin, Rocky' love interest, who
Tchéky Karyo is a Turkish-born French actor and musician, known for playing leading French police investigator Julien Baptiste in the British drama The Missing and its spin-off series Baptiste. Beginning his career as an actor on stage in classical and contemporary works, he began to work as a character actor in films in the 1980s, he has acted in numerous films including Luc Besson. He was named Baruh Djaki Karyo at birth in 1953 in Turkey; when he was young, his family moved to Paris, where he grew up. The spelling of his name, was changed to Tchéky in a form of French transliteration; as a young man, Karyo studied drama at the Cyrano Theatre and became a member of the Daniel Sorano Company, playing many classical roles. Karyo joined the National Theatre of Strasbourg, where he starred in both contemporary and classical plays, he found success in French films beginning in the 1980s, first as a character actor. He appeared in leading roles in several notable films, such as The Bear, in which he played one of the hunters, director Luc Besson's Nikita, in which he played the heroine's spy mentor.
He has participated in many Hollywood movies portraying a French character, in the same fashion as Jean Reno. His movie credits include 1994's Nostradamus in which he plays the famous French prophet, 1995's Bad Boys opposite Will Smith and Martin Lawrence in which he plays a character named Fouchet, a criminal who steals heroin from the Miami-Dade Police Department's headquarters and tries to kill a woman named Julie Mott, played by Téa Leoni, who witnessed a murder, he appeared alongside Jet Li in 2001's Kiss of the Dragon as a corrupt and violent Paris police detective who frames Li's character for murder and gets killed by him in retribution. He has acted in prominent roles in major films set during wartime; such performances include his acting as a vengeful French officer alongside Mel Gibson in The Patriot, set during the American Revolutionary War, his role as Jean de Dunois in The Messenger: The Story of Joan of Arc. In the DVD edition of The Patriot, Karyo overdubbed his own lines on the French-language track.
He appeared in the Martin Sheen film The Way as Captain Henri. In 2014 and 2016 Karyo appeared as Julien Baptiste in the acclaimed BBC One/Starz drama series The Missing, he has received critical praise for his performance. In April 2018, it was confirmed by BBC that Tchéky Karyo would reprise his role as Julien Baptiste in a spin-off series titled Baptiste, to be written by Jack and Harry Williams; the new six-episode series began on 17 February 2019. Karyo is a musician and songwriter. In 2006 he released the album Ce lien qui nous unit, released Credo in 2013 on his 60th birthday, he was nominated for a César Award for Most Promising Actor for his role in La Balance. In 1986, he was awarded the Jean Gabin Prize in recognition of his acting performances. 1992: "Born On The Wrong Side Of Town" Jaye Muller 2005: "L'avenir est à nous" Kool Shen feat Rohff & Dadoo Tchéky Karyo on IMDb Tchéky Karyo at ECI Global Talent Management
May Irwin was a Canadian actress and star of vaudeville. Born at Whitby, Ontario in 1862 as Georgina May Campbell, her father, Robert E. Campbell, died when she was 13 years old, they created a singing act, billed as the "Irwin Sisters," that debuted at the Adelphi Theatre in nearby Buffalo, New York in December 1874. By late 1877, their careers had progressed and they were booked to appear at New York's Metropolitan Theater at the Tony Pastor Theatre, a popular New York City music hall; the sisters proved popular enough to earn regular spots for the ensuing six years, after which 21-year-old May set out on her own. She joined Augustin Daly's stock company from 1883 to 1887, where she made her first appearance on the theatrical stage; this comedian was known for her improvisation skills. An immediate success, she went on to make her London stage debut at Toole's Theatre in August 1884. By the age of 25, she was earning $2,500 a week. In 1886, her husband of eight years, Frederick W. Keller, died unexpectedly.
Her sister Flora married New York State Senator Thomas F. Grady. By the early 1890s, Irwin had married a second time and developed her career into that of a leading vaudeville performer with an act known at the time as "Coon Shouting", in which she performed African American-influenced songs. In the 1895 Broadway show The Widow Jones, she introduced "The Bully Song", which became her signature number; the performance featured a lingering kiss, seen by Thomas Edison, who hired Irwin and her co-star John C. Rice to repeat the scene on film. In 1896, Edison's Kinetoscope production, The Kiss, became the first screen kiss in cinematic history, her own pieces included " The Widow Jones", " The Swell Miss Fitzswell", "Courted into Court", "Kate Kip-Buyer", "Sister Mary". In addition to her performing and singing, Irwin wrote the lyrics to several songs, including "Hot Tamale Alley", with music written by George M. Cohan. In 1907 she married her manager, Kurt Eisfeldt, began making records for Berliner/Victor.
Several of these recordings give a notion of the actress's appeal. Irwin's buxom figure was much in vogue at the time and, combined with her charming personality, made her one of America's most beloved performers for more than thirty years. In 1914, she made her second silent film appearance, this time in the feature-length adaptation of George V. Hobart's play, Mrs. Black is Back, produced by Adolph Zukor's Famous Players Film Company and filmed for the most part at her own sprawling home in New York. Still pictures showing May survive from this movie. A paid performer, Irwin was a shrewd investor and became a wealthy woman, she spent a great deal of time at a summer home on secluded Club Island, a small island off of Grindstone Island of the Thousand Islands, at her winter home on Merritt Island, before retiring to a farm near Clayton, New York, where a street would be named in her honor. May Irwin was married twice, her first marriage was to Frederick W. Keller, of St. Louis, from 1878 until his death in 1886.
From 1907 to the end of her life, she was married to Kurt Eisfeldt. The couple lived at New York. May Irwin had two sons by Walter Keller and Harry Keller. May Irwin died in New York City on October 22, 1938, aged 76, she is interred at Kensico Cemetery in Valhalla, NY. May Irwin on IMDb May Irwin at the Internet Broadway Database May Irwin and Flo Irwin at Whitby Public Library and Archives Digital Collection May Irwin photo gallery at NYP Library May Irwin Collected Works of May Irwin recordings May Irwin portraits pictures of Flo Irwin, May's lookalike sister #1, #2
Marie-Georges-Jean Méliès, known as Georges Méliès, was a French illusionist and film director who led many technical and narrative developments in the earliest days of cinema. Méliès was well-known for the use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography and hand-painted colour, he was one of the first filmmakers to use storyboards. His films include A Trip to the Moon and The Impossible Voyage, both involving strange, surreal journeys somewhat in the style of Jules Verne, are considered among the most important early science fiction films, though their approach is closer to fantasy. Marie-Georges-Jean Méliès was born 8 December 1861 in Paris, son of Jean-Louis-Stanislas Méliès and his Dutch wife, Johannah-Catherine Schuering, his father had moved to Paris in 1843 as a journeyman shoemaker and began working at a boot factory, where he met Méliès' mother. Johannah-Catherine's father had been the official bootmaker of the Dutch court before a fire ruined his business.
She helped to educate Jean-Louis-Stanislas. The two married, founded a high-quality boot factory on the Boulevard Saint-Martin, had sons Henri and Gaston. Georges Méliès attended the Lycée Michelet from age seven until it was bombed during the Franco-Prussian War. In his memoirs, Méliès emphasised his formal, classical education, in contrast to accusations early in his career that most filmmakers had been "illiterates incapable of producing anything artistic." However, he acknowledged that his creative instincts outweighed intellectual ones: "The artistic passion was too strong for him, while he would ponder a French composition or Latin verse, his pen mechanically sketched portraits or caricatures of his professors or classmates, if not some fantasy palace or an original landscape that had the look of a theatre set." Disciplined by teachers for covering his notebooks and textbooks with drawings, young Georges began building cardboard puppet theatres at age ten and moved on to craft more sophisticated marionettes as a teenager.
Méliès graduated from the Lycée with a baccalauréat in 1880. After completing his education, Méliès joined his brothers in the family shoe business, where he learned how to sew. After three years of mandatory military service, his father sent him to London to work as a clerk for a family friend. While in London, he began to visit the Egyptian Hall, run by the London illusionist John Nevil Maskelyne, he developed a lifelong passion for stage magic. Méliès returned to Paris in 1885 with a new desire: to study painting at the École des Beaux-Arts, his father, refused to support him financially as an artist, so Georges settled with supervising the machinery at the family factory. That same year, he avoided his family's desire for him to marry his brother's sister-in-law and instead married Eugénie Génin, a family friend's daughter whose guardians had left her a sizable dowry. Together they had two children: Georgette, born in 1888, André, born in 1901. While working at the family factory, Méliès continued to cultivate his interest in stage magic, attending performances at the Théâtre Robert-Houdin, founded by the magician Jean Eugène Robert-Houdin.
He began taking magic lessons from Emile Voisin, who gave him the opportunity to perform his first public shows, at the Cabinet Fantastique of the Grévin Wax Museum and at the Galerie Vivienne. In 1888, Méliès' father retired, Georges Méliès sold his share of the family shoe business to his two brothers. With the money from the sale and from his wife's dowry, he purchased the Théâtre Robert-Houdin. Although the theatre was "superb" and equipped with lights, trap doors, several automata, many of the available illusions and tricks were out of date, attendance to the theatre was low after Méliès' initial renovations. Over the next nine years, Méliès created over 30 new illusions that brought more comedy and melodramatic pageantry to performances, much like those Méliès had seen in London, attendance improved. One of his best-known illusions was the Recalcitrant Decapitated Man, in which a professor's head is cut off in the middle of a speech and continues talking until it is returned to his body.
When he purchased the Théâtre Robert-Houdin, Méliès inherited its chief mechanic Eugène Calmels and such performers as Jehanne D'Alcy, who would become his mistress and his second wife. While running the theatre, Méliès worked as a political cartoonist for the liberal newspaper La Griffe, edited by his cousin Adolphe Méliès; as owner of the Théâtre Robert-Houdin, Méliès began working more behind the scenes than on stage. He acted as director, writer and costume designer, as well as inventing many of the magical tricks. With the theatre's growing popularity, he brought in magicians including Buatier De Kolta and Raynaly to the theatre. Along with magic tricks, performances included fairy pantomimes, an automaton performance during intermissions, magic lantern shows, special effects such as snowfall and lightning. In 1895, Méliès was elected president of the Chambre Syndicale des Artistes Illusionistes. On 28 December 1895, Méliès attended a special private demonstration of the Lumière brothers' cinematograph, given for owners of Parisian houses of spectacle.
Méliès offered the Lumières 10,000₣ for one of their machines. (For the same reasons, they
Once Upon a Time in the West
Once Upon a Time in the West is a 1968 epic Spaghetti Western film co-written and directed by Sergio Leone. It stars Henry Fonda, cast against type, as the villain, Charles Bronson as his nemesis, Claudia Cardinale as a newly widowed homesteader, Jason Robards as a bandit; the screenplay was written by Sergio Donati and Leone, from a story by Dario Argento, Bernardo Bertolucci and Leone. The widescreen cinematography was by Tonino Delli Colli, the acclaimed film score was by Ennio Morricone. After directing The Good, the Bad and the Ugly, Leone decided to retire from Westerns and desired to produce his film based on The Hoods, which became Once Upon a Time in America. However, Leone accepted an offer from Paramount Pictures to provide access to Henry Fonda and to use a budget to produce another Western film, he recruited Bertolucci and Argento to devise the plot of the film in 1966, researching other Western films in the process. After Clint Eastwood turned down an offer to play the movie's protagonist, Bronson was offered the role.
During production, Leone recruited Donati to rewrite the script due to concerns over time limitations. The original version by the director was 166 minutes when it was first released on December 21, 1968; this was the version, to be shown in European cinemas and was a box office success. For the US release on May 28, 1969, Once Upon a Time in the West was edited down to 145 minutes by Paramount and was a financial flop; the film is considered by some to be the first installment in Leone's Once Upon a Time Trilogy, followed by Duck, You Sucker!, called Once Upon a Time... the Revolution in parts of Europe, Once Upon a Time in America, though the films do not share any characters in common. In 2009, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally or aesthetically significant"; the film portrays two conflicts that take place around Flagstone, a fictional town in the American Old West: a land battle related to construction of a railroad, a mission of vengeance against a cold-blooded killer.
A struggle exists for Sweetwater, a piece of land in the desert outside Flagstone which contains the region's only other water source. The land was bought by Brett McBain, who foresaw that the railroad would have to pass through that area to provide water for the steam locomotives; when crippled railroad tycoon Morton learns of this, he sends his hired gun Frank to intimidate McBain to move off the land, but Frank instead kills McBain and his three children, planting evidence to frame the bandit Cheyenne. Meanwhile, a former prostitute arrives at Flagstone from New Orleans, revealing that she is McBain's new wife and therefore owner of the land; the film opens with a mysterious harmonica-playing gunman, whom Cheyenne dubs "Harmonica", shooting three men sent by Frank to kill him. In a roadhouse on the way to Sweetwater, where he encounters Mrs McBain, Harmonica informs Cheyenne that the three gunfighters appeared to be posing as Cheyenne's men. Cheyenne arrives at Sweetwater. Harmonica explains that, according to the contract of sale, she will lose Sweetwater unless the station is built by the time the track's construction crews reach that point, so Cheyenne puts his men to work building it.
Frank turns against Morton, who wants to make a deal with Mrs McBain, immobilises him under guard on his private train out in the desert. Instead Mrs McBain allows Frank to seduce her to save her life, is forced to sell her property in an auction where Frank's men intimidate the other bidders. Harmonica disrupts Frank's plan to keep the price down when he arrives, holding Cheyenne at gunpoint, makes a much higher bid with the reward money for the wanted Cheyenne, but as Cheyenne is placed on a train bound for the Yuma prison, two members of his gang purchase one-way tickets for the train, intending to help him escape. Morton now pays Frank's men to turn against him. However, Harmonica helps Frank kill them by directing his attention to their whereabouts from the room where Mrs McBain is taking a bath – to her outrage. On Frank's return to Morton's train he finds that Morton and his remaining men have been killed in a battle with Cheyenne's gang. Frank goes to Sweetwater to confront Harmonica.
On two occasions, Frank has asked him who he is, but both times Harmonica only answered with names of men "who were alive before they knew you". This time, Harmonica says he will reveal who he is "only at the point of dying"; as the two prepare for a gun duel, Harmonica's motive is revealed in a flashback. A younger Frank forces a boy to support his older brother on his shoulders, while his brother's neck is in a noose strung from an arch; as the boy struggles to hold his brother's weight, Frank stuffs a harmonica into the panting boy's mouth. The older brother curses Frank and the boy collapses to the ground. Back in the present, Harmonica draws first and stuffs his instrument into the dying Frank's mouth as a reminder. At the house again and Cheyenne say goodbye to Mrs McBain, supervising construction of the railway station as the track-laying crews reach Sweetwater; as the two men ride off, Cheyenne falls, admitting that he was mortally wounded by Morton during the fight with Frank's gang. While Harmonica rides away with Cheyenne's dead body, the work train arrives and Mrs McBain carries water to the rail workers.
With the death of Gabriele Ferzetti in 2015, Claudia Cardinale is the sole surv
The Great Train Robbery (1903 film)
The Great Train Robbery is a 1903 American silent short Western film written and directed by Edwin S. Porter, a former Edison Studios cameraman. Actors in the movie included Alfred C. Abadie, Broncho Billy Anderson and Justus D. Barnes. Though a Western, it was filmed in New Jersey; the film was inspired by Scott Marble's 1896 stage play, may have been inspired by a 1900 train robbery perpetrated by Butch Cassidy. At twelve minutes long, The Great Train Robbery film is considered a milestone in film making, expanding on Porter's previous work Life of an American Fireman; the film used a number of then-unconventional techniques, including composite editing, on-location shooting, frequent camera movement. The film is one of the earliest to use the technique of cross cutting, in which two scenes are shown to be occurring but in different locations; some prints were hand colored in certain scenes. Techniques used in The Great Train Robbery were inspired by those used in Frank Mottershaw's British film A Daring Daylight Burglary, released earlier in the year.
Film historians now consider The Great Train Robbery to be the first American action film and the first Western film with a "recognizable form". In 1990, The Great Train Robbery was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally or aesthetically significant"; the film opens with two bandits breaking into a railroad telegraph office, where they force the operator at gunpoint to have a train stopped and to transmit orders for the engineer to fill the locomotive's tender at the station's water tank. They knock the operator out and tie him up; as the train stops it is boarded by the bandits—now four. Two bandits kill a messenger and open a box of valuables with dynamite; the bandits force the passengers off the train and rifle them for their belongings. One passenger tries to escape but is shot down. Carrying their loot, the bandits escape in the locomotive stopping in a valley where their horses had been left. Meanwhile, back in the telegraph office, the bound operator awakens.
His daughter arrives bringing him his meal and cuts him free, restores him to consciousness by dousing him with water. There is some comic relief at a dance hall, where an Eastern stranger is forced to dance while the locals fire at his feet; the door opens and the telegraph operator rushes in to tell them of the robbery. The men form a posse, which overtakes the bandits, in a final shootout kills them all and recovers the stolen mail. An additional scene of the film presents a medium close-up of the leader of the bandits, played by Justus D. Barnes, who empties his pistol point-blank directly into the camera; the scene is not directly related to anything in the main narrative, is described as "Realism" by the accompanying letter from Edison Manufacturing. Although it is placed at the end, Porter stated that the scene could appear at the beginning of the film; the media historian James Chapman observed that the sequence may have inspired the gun barrel sequence from the James Bond films. Porter's film was shot at the Edison studios in New York City, on location in New Jersey at the South Mountain Reservation, part of the modern Essex County Park system, as well as along the Delaware and Western Railroad.
Filmed during November 1903, the picture was advertised as available for sale to distributors in December of that same year. Though shot in black and white, certain sections of print were hand-colored; the Great Train Robbery had its official debut at Huber's Museum in New York City before being exhibited at eleven theaters elsewhere in the city. In advertising for the film, Edison agents touted the film as "...absolutely the superior of any moving picture made" as well as a "...faithful imitation of the genuine'Hold Ups' made famous by various outlaw bands in the far West..."The film's budget was an estimated $150, equal to $4183 today. Upon its release, The Great Train Robbery became a massive success and is considered one of the first Western films, it is considered one of the first blockbusters and was one of the most popular films of the silent era until the release of The Birth of a Nation in 1915. The success of The Great Train Robbery inspired several similar films; the first was a remake of the same name directed by Siegmund Lubin.
It has been called the first film remake. The film inspired numerous imitators, including The Bold Bank Robbery and The Hold-Up Of The Rocky Mountain Express. Porter himself tried to re-capture his previous success with The Life of an American Cowboy and a parody of The Great Train Robbery titled The Little Train Robbery, with an all-child cast. In the 1966 Batman TV Series episode entitled "The Riddler's False Notion", silent film star Francis X. Bushman guest stars as the wealthy film collector who owns a print of The Great Train Robbery. In the last episode of season three of Breaking Bad, the closing scene is
Auguste and Louis Lumière
The Lumière brothers, Auguste Marie Louis Nicolas and Louis Jean, were among the first filmmakers in history. They patented an improved cinematograph, which in contrast to Thomas Edison's "peepshow" kinetoscope allowed simultaneous viewing by multiple parties; the Lumière brothers were born in Besançon, France, to Charles-Antoine Lumière and Jeanne Joséphine Costille Lumière, who were married in 1861 and moved to Besançon, setting up a small photographic portrait studio where Auguste and Louis were born. They moved to Lyon in 1870, where three daughters were born. Auguste and Louis both attended the largest technical school in Lyon, their father Charles-Antoine set up a small factory producing photographic plates, but with Louis and a young sister working from 5 a.m. to 11 p.m. it teetered on the verge of bankruptcy, by 1882 it looked as if they would fail, but when Auguste returned from military service the boys designed the machines necessary to automate their father's plate production and devised a successful new photo plate,'etiquettes bleue', by 1884 the factory employed a dozen workers.
When their father retired in 1892 the brothers began to create moving pictures. They patented several significant processes leading up to their film camera, most notably film perforations as a means of advancing the film through the camera and projector; the original cinématographe had been patented by Léon Guillaume Bouly on 12 February 1892. The brothers patented their own version on 13 February 1895; the first footage to be recorded using it was recorded on 19 March 1895. This first film shows workers leaving the Lumière factory; the Lumière brothers saw film as a novelty and had withdrawn from the film business in 1905. They went on to develop the Lumière Autochrome. Louis died on 6 June 1948 and Auguste on 10 April 1954, they are buried in a family tomb in the New Guillotière Cemetery in Lyon. The Lumières held their first private screening of projected motion pictures in 1895; this first screening on 22 March 1895 took place in Paris, at the "Society for the Development of the National Industry", in front of an audience of 200 people – among which Léon Gaumont director of the company the Comptoir géneral de la photographie.
The main focus of this conference by Louis Lumière were the recent developments in the photograph industry the research on polychromy. It was much to Lumière's surprise that the moving black-and-white images retained more attention than the coloured stills photographs; the American Woodville Latham had screened works of film 2 months on 20 May 1895. The first public screening of films at which admission was charged was a program by the Skladanowsky brothers, held on 1 November 1895, in Berlin; the Lumières gave their first paid public screening on 28 December 1895, at Salon Indien du Grand Café in Paris. This history-making presentation featured 10 short films, including their first film, Sortie des Usines Lumière à Lyon; each film is 17 meters long, when hand cranked through a projector, runs 50 seconds. It is believed their first film was recorded that same year with Léon Bouly's cinématographe device, patented the previous year; the date of the recording of their first film is in dispute. In an interview with Georges Sadoul given in 1948, Louis Lumière tells that he shot the film in August 1894.
This is questioned by historians who consider that a functional Lumière camera didn't exist before the end of 1894, that their first film was recorded 19 March 1895, publicly projected 22 March at the Société d'encouragement pour l'industrie nationale in Paris. The cinématographe — a three-in-one device that could record and project motion pictures — was further developed by the Lumières; the public debut at the Grand Café came a few months and consisted of the following 10 short films: La Sortie de l'Usine Lumière à Lyon, 46 seconds Le Jardinier, 49 seconds Le Débarquement du Congrès de Photographie à Lyon, 48 seconds La Voltige, 46 seconds La Pêche aux poissons rouges, 42 seconds Les Forgerons, 49 seconds Repas de bébé, 41 seconds Le Saut à la couverture, 41 seconds La Places des Cordeliers à Lyon, 44 seconds La Mer, 38 secondsThe Lumières went on tour with the cinématographe in 1896, visiting Brussels, London, New York City and Buenos Aires. In 1896, only a few months after the initial screenings in Europe, films by the Lumiere Brothers were shown in Egypt, first in the Tousson stock exchange in Alexandria on 5 November 1896 and in the Hamam Schneider in Cairo.
The moving images had an immediate and significant influence on popular culture with L'Arrivée d'un Train en Gare de la Ciotat and Carmaux, défournage du coke. Their actuality films