Documentary focusing on Brazilian samba singer Bezerra da Silva and the composers he chooses to record: simple people, workers living in the poor slums of Rio de Janeiro and its suburbs.
Himself
Himself
Himself
Himself
Himself
Documentary focusing on Brazilian samba singer Bezerra da Silva and the composers he chooses to record: simple people, workers living in the poor slums of Rio de Janeiro and its suburbs.
2001-06-06
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A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
The subject is two grotesque-looking human beings who are sitting on the deck of a ship. The two weird individuals sit cross-legged and do the bidding of a man in oriental costume. The point of the film seems to be directed at the fact that the bone structure of the two subjects makes them look like monkeys or apes, and the spectators seem to be trying to get them to behave like monkeys, that is, scratch themselves, etc.
Almost 200 women file by a device on the wall from which they take their time checks. A man runs half-way across the screen at the end of the film.
A camera on an overhead crane travels down a large, long aisle where men are shown working on large machinery on either side. Carts carrying equipment are shown traveling on rails down the aisles. There are also men walking in the aisles. From Bitzer's Westinghouse Works series.
On the left of the screen, a small group of men lift the top off of what appears to be a turbine with a crane and continue to check the machine, tightening various parts with wrenches. On the right side, a few men appear to be testing the workings of what may be a turbine.
A very graceful dance with voluminous draperies, by Annabelle Moore, well-known on the metropolitan stage.
In a sunny open air setting with a background of high, deep foliage trees, and a white-walled storeyed house, an acrobat with light shirt and trousers and white plimsolls is doing acrobats in a trapeze in the center of the area. Behind it, a pair of men in similar dress seem to be carrying barbells from one place to the other, rather then exercising with them.
Kieslowski’s later film Dworzec (Station, 1980) portrays the atmosphere at Central Station in Warsaw after the rush hour.
Women getting onto a rickshaw.
Marquesas in their sedan chairs.
A crowd of spectators listen to President William McKinley's speech during his inauguration ceremony outside the U.S. Capitol in Washington, D.C.
People gather at the exit of the St. Trophime cathedral in Arles.
Pedestrian and various vehicles traffic on Place Bellecour, in Lyon.
Horses and their riders make their way into the compact and agitated crowd of spectators.