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announces her intention to leave on a trip around the world. When she is told that Norsen has killed himself because of her, she shows no feelings. At her next concert she is booed by an audience outraged at her coldness. She visits the vault in which Norsen's body lies, and as she admits her feelings for him she discovers that he is alive; his death was feigned. Norsen demonstrates one of his inventions which allows Claire to broadcast her singing while observing on a television screen the reaction of audiences around the world. Djorah is jealous of their new relationship and causes Claire to be bitten by a poisonous snake. Her body is brought to Norsen's laboratory, where he, by means of his scientific inventions, restores Claire to life.
1042:(2015) pp. 157-158: "A major guide was provided by the practice of the time, which was to assemble the film negative according to the colours to be used. Thus all the elements to be tinted in a particular colour – blue, green, yellow, or red – were spooled separately. Further precious information, written in ink on the negative, was absent from the interpositive used for the earlier restorations. Some editing clippings dating from the period provided a further guide to authentic tinting and toning. Finally, new digital restoration technologies have enabled the most precise reproduction of the intensity of the tints, and L’Herbier’s original creative intention – a resurrection." Retrieved 31 December 2015.
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887:. (Paris: E. Jacques Vautrain, 1950). p. 82. "A chaque séance, les spectateurs s'insultent, il y a autant de partisans frénétiques que d'adversaires acharnés. C'est dans un véritable vacarme que passent sur l'écran, à toutes les représentations, les images multicolores et syncopées sur lesquelles se termine le film. Des femmes, le chapeau de travers, exigent d'ètre remboursées; des hommes, les traits convulsés, se précipitent sur le trottoir où, parfois, les pugilats continuent..."
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480:"At each screening, spectators insulted each other, and there were as many frenzied partisans of the film as there were furious opponents. It was amid genuine uproar that, at every performance, there passed across the screen the multicoloured and syncopated images with which the film ends. Women, with hats askew, demanded their money back; men, with their faces screwed up, tumbled out on to the pavement where sometimes fist-fights continued."
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film. The first public performance of this restored version was given at the Théâtre du Châtelet in Paris on 30 March 2015, with a newly composed score by Aidje Tafial. A Blu-ray and DVD edition was published in
December 2015; it included the musical accompaniment by Aidje Tafial and an alternative one by the
426:, soon to be directing their own films, both had a background in design; Autant-Lara was responsible for the winter-garden set and the funeral vault, while Cavalcanti designed the geometric dining hall for Claire's party, with its dining-table set on an island in the middle of a pool. Costumes were designed by
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Filming began in
September 1923 at the Joinville studios in Paris and had to be carried on at great speed because Georgette Leblanc was committed to return to America in mid-October for a concert tour. L'Herbier often continued shooting through the night, making intense demands on his cast and crew.
458:
to write a score with extensive use of percussion, to which the images were to be edited. (This musical score which was central to L'Herbier's conception of the film has not survived.) The final sequence of the film, in which Claire is 'resurrected', is an elaborate exercise in rapid cutting, whose
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Famous singer Claire Lescot, who lives on the outskirts of Paris, is courted by many men, including a maharajah, Djorah de Nopur, and a young
Swedish scientist, Einar Norsen. At her lavish parties she enjoys their amorous attentions but she remains emotionally aloof and heartlessly taunts them. She
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L'Herbier had always wanted the film to provide to the world a showcase for contemporary decorative arts in France (as well as its cinema) and the film was duly presented in a number of cities abroad (New York, Barcelona, Geneva, London, Brussels, Warsaw, Shanghai, Tokyo). It at least succeeded in
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received its first public screenings in
November 1924, and its reception with the public and with critics was largely negative. It also became a financial disaster for L'Herbier's production company Cinégraphic. One of the film's stars drew a vivid picture of the impact which it had among Parisian
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digital version (with a running time of 122 minutes). Reconstruction of L'Herbier's scheme of tinting and toning was made by following indications from the original reels, including the brief flashes of pure colour which were interpolated in the sequence of rapid montage in the final scene of the
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The plot of the film was a melodrama with strong elements of fantasy, but from the outset L'Herbier's principal interest lay in the style of filming: he wanted to present "a miscellany of modern art" in which many contributors would bring different creative styles into a single aesthetic goal. In
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was largely forgotten for many years, until a revival in Paris in 1968 attracted interest from new audiences. A restoration of the film was undertaken in 1972. In 1975 it was successfully shown as the opening event in an exhibition commemorating the 50th anniversary of the
Exposition des Arts
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performing some of his own dissonant compositions which created a suitably confrontational mood, and when
Georgette Leblanc appeared on stage the audience responded with the required tumult of whistles, applause and protests, as well as some scuffles. The audience is said to have included
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and invited over 2000 people from the film world and fashionable society to attend in evening dress and to play the part of an unruly audience. Ten cameras were deployed around the theatre to record their reactions to the concert. This included the
American pianist
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who wrote a number of texts about the relationship between cinema and the other arts, proposing that cinema could be seen as "a synthesis of all the arts". L'Herbier also foresaw that his film could provide a prologue or introduction to the major exhibition
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as a misguided attempt to celebrate film as art or to reconcile the popular and the Ă©litist. On the other hand, it was precisely the originality and daring of L'Herbier's concept which won the enthusiasm of the film's admirers, such as the architect
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surpass the imagination. As you emerge from seeing it, you have the impression of having lived through the moment of birth of a new art." A modern commentator has echoed this view more concisely in describing the film as "fabulously inventive".
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A wide range of practitioners in different fields of the arts worked on the film, meeting L'Herbier's ambition of creating a film which united many forms of artistic expression. Four designers contributed to the sets. The painter
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Criticism was levelled at the old-fashioned scenario and at the inexpressive performances of the principal actors, but the most contentious aspects were the film's visual and technical innovations. According to the critic
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465:. In addition to the juxtaposition and rhythmic repetition of images, L'Herbier interspersed frames of bright colours, intending to create counterpoint to the music of Milhaud and "to make the light sing".
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is notable for its experimental techniques and for the collaboration of many leading practitioners in the decorative arts, architecture and music. The film caused controversy on its release.
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which was due to open in Paris in 1925. With this in mind, L'Herbier invited leading French practitioners in painting, architecture, fashion, dance and music to collaborate with him (
222:. The agreement with Leblanc committed her to provide 50% of the costs (envisaged as FF130,000), and she would distribute and promote the film in the United States under the title
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to make a film in which she would star and for which she would secure partial funding from
American financiers. L'Herbier revived a scenario which he had written under the title
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976:(Belgium): "un sublime manifeste cinématographique du mouvement Art déco, et un classique de l’avant-garde des années 20". Retrieved 31 December 2015.
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In the event, Leblanc had to leave before everything was finished and some scenes could only be completed when she returned to Paris in spring 1924.
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934:. (Paris: Belfond, 1979). p.105. "C'est une chanson éclatante sur la grandeur de la technique moderne. ...La réalisation des dernières images de
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Madeleine
Milhaud told film music historian Theodore van Houten in 1982 that the music for the LĂ©ger laboratory scene ended up in the short
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706:, ed. by Laurent Véray. (Paris: Association française du recherche sur l'histoire du cinéma, 2007) pp.101-108. Ricciotto Canudo died while
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In 1923, while seeking to recover his health after a bout of typhoid, and his fortunes following the collapse of his film adaptation of
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One evening of location shooting became famous (4 October 1923). For the scene of Claire Lescot's concert L'Herbier hired the
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Paech, Joachim. "Die Anfänge der
Avantgarde im Film: Die Unmenschliche (1924)". In: Werner Faulstich / Helmut Korte (Hg.):
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dépasse l'imagination. En sortant de la voir, on a l'impression d'avoir vécu l'heure de la naissance d'un nouvel art."
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drawing more measured responses from those audiences. Today the film is often cited as a "manifesto for Art Deco".
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In 2014 a new restoration was undertaken by Lobster Films, scanning the original nitrate negative to produce a
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1004:, ed. by Laurent Véray. (Paris: Association française du recherche sur l'histoire du cinéma, 2007) p. 388.
917:, ed. by Laurent Véray. (Paris: Association française du recherche sur l'histoire du cinéma, 2007) p. 358.
785:, ed. by Laurent Véray. (Paris: Association française du recherche sur l'histoire du cinéma, 2007) p. 105.
765:. (Paris: E. Jacques Vautrain, 1950). p. 79. L'Herbier mentions only three cameras in "La TĂŞte qui tourne
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992:... résonne comme un manifeste Art déco en matière de décors et costumes". Retrieved 31 December 2015.
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Cowan, Michael. "The Heart Machine: 'Rhythm' and Body in Weimar Film and in Fritz Lang's Metropolis".
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this respect L'Herbier was exploring ideas similar to those outlined by the critic and film theorist
226:. The remainder of the production costs were met by L'Herbier's own production company Cinégraphic.
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designed the exteriors of the houses of Norsen and Claire Lescot, with strong cubist elements.
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Der Film "L’Inhumaine" und sein Verhältnis zu Kunst und Architektur der zwanziger Jahre
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Fischer Filmgeschichte. Band 1: Von den Anfängen bis zum etablierten Medium 1985-1924
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to revise it according to Leblanc's suggestions, and in its new form it became
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176:("the inhuman woman") is a 1924 French science fiction drama film directed by
560:. Magisterarbeit. LMU MĂĽnchen: Geschichts- und Kunstwissenschaften 29, 2005.
202:, Marcel L'Herbier received a proposal from his old friend the opera singer
719:"...cette histoire féerique de l'Art décoratif moderne". Marcel L'Herbier,
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581:. Frankfurt am Main: Fischer Taschenbuch Verlag 1994. pp. 412–430.
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551:. Princeton NJ: Princeton University Press, 1984. pp. 383–394.
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created the mechanical laboratory of Einar Norsen. The architect
832:. (Princeton NJ: Princeton University Press, 1984). pp. 387–389.
587:; edited by Caroline Evans & Marketa Uhlirova. Published by
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DĂ©coratifs. In 1987 it was screened out of competition at the
454:. To bind the whole together L'Herbier commissioned the young
1091:
1054:: Blu-ray/DVD edition, December 2015. Lobster Films (Paris).
874:. (Princeton NJ: Princeton University Press, 1984). p. 383.
798:(London; New York: Hurst & Blackett, 1945) pp. 134–135.
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expressive possibilities had recently been demonstrated in
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George Antheil gave his own account of the occasion in:
819:(New York: New York University Press, 1975) pp. 99–115.
854:"...pour faire chanter la lumière." Marcel L'Herbier,
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was in production and did not see the completed film.
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702:, L'Herbier, Canudo, et le synthèse des arts", in
477:audiences during its run at the Madeleine-Cinéma:
574:, April 2007. Volume 14, no. 2. pp. 225–248.
403:Sets for Lescot's mansion and Norsen's laboratory
491:Many film historians and critics have ridiculed
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614:was shown in 1926 in the USA under the title
446:. The choreographed scenes were provided by
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964:. (Paris: E. Jacques Vautrain, 1950). p. 82.
951:. (Princeton University Press, 1995) p. 157.
930:, 29 July 1924, quoted in Marcel L'Herbier,
736:. (Paris: E. Jacques Vautrain, 1950). p. 77.
694:For a discussion of Canudo's influence upon
656:. (Paris: E. Jacques Vautrain, 1950). p. 76.
843:Concerto for percussion and small orchestra
629:"Progressive Silent Film List: L'Inhumaine"
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186:("fairy story", "story of enchantment").
1040:Le Giornate del Cinema Muto 34: catalogo
962:Jaque Catelain présente Marcel L'Herbier
885:Jaque Catelain présente Marcel L'Herbier
763:Jaque Catelain présente Marcel L'Herbier
734:Jaque Catelain présente Marcel L'Herbier
654:Jaque Catelain présente Marcel L'Herbier
872:French cinema: the first wave 1915-1929
830:French cinema: the first wave 1915-1929
811:, and its relationship to his own film
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549:French Cinema: the First Wave 1915-1929
807:LĂ©ger's contribution to the design of
669:. (Paris: Belfond, 1979). pp. 100–102.
1086:: Marcel L'Herbier's 1925 article in
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591:(London) June 2014 (4th Festival).
1484:Silent science fiction drama films
1464:French science fiction drama films
1454:Films directed by Marcel L'Herbier
900:. (Paris: Flammarion, 1962) p. 28.
14:
1459:1920s science fiction drama films
1015:"Festival de Cannes: L'Inhumaine"
1002:Marcel L'Herbier: l'art du cinéma
915:Marcel L'Herbier: l'art du cinéma
783:Marcel L'Herbier: l'art du cinéma
752:. (Paris: Belfond, 1979). p. 105.
723:. (Paris: Belfond, 1979). p. 102.
704:Marcel L'Herbier: l'art du cinéma
685:. (Paris: Belfond, 1979). p. 102.
1232:The Perfume of the Lady in Black
858:. (Paris: Belfond, 1979). p.105.
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1469:Art Deco architecture in France
434:and Michel Dufet, jewellery by
1224:The Mystery of the Yellow Room
898:Le Cinéma français (1890-1962)
237:Exposition des Arts DĂ©coratifs
1:
595:(retrieved 31 December 2015).
16:1924 film by Marcel L'Herbier
1449:French black-and-white films
845:, op. 109, published 1930. .
1444:French silent feature films
1094:. (Subscription required.)
1505:
698:, see Prosper Hillairet, "
517:After its initial release
341:Théâtre des Champs-Élysées
334:Théâtre des Champs-Élysées
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585:Marcel L'Herbier: Dossier
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1408:The Last Days of Pompeii
1376:The Honourable Catherine
567:. Paris: Seghers, 1973.
438:, and other "objets" by
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986:Musée d'Orsay programme
1416:The Father of the Girl
1312:The Citadel of Silence
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295:LĂ©onid Walter de Malte
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1352:La Comédie du bonheur
1190:Little Devil May Care
416:Robert Mallet-Stevens
332:The crowd inside the
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1474:Resurrection in film
1400:The Queen's Necklace
777:Prosper Hillairet, "
524:Cannes Film Festival
1368:La Nuit fantastique
1328:Adrienne Lecouvreur
1208:La Femme d'une nuit
1083:Les Arts décoratifs
1038:Serge Bromberg, in
1019:festival-cannes.com
974:Cinematek programme
909:LĂ©on Moussinac, in
616:The New Enchantment
572:Modernism/modernity
297:as Wladimir Kranine
224:The New Enchantment
1489:1920s French films
1272:La Route impériale
1174:Feu Mathias Pascal
1128:Films directed by
932:La TĂŞte qui tourne
856:La TĂŞte qui tourne
750:La TĂŞte qui tourne
748:Marcel L'Herbier,
721:La TĂŞte qui tourne
683:La TĂŞte qui tourne
681:Marcel L'Herbier,
667:La TĂŞte qui tourne
665:Marcel L'Herbier,
554:Binder, Dorothee.
424:Claude Autant-Lara
420:Alberto Cavalcanti
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309:as Djorah de Nopur
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127:November 1924
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817:The Cubist Cinema
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183:histoire féerique
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1479:1924 drama films
1384:La Vie de Bohème
1360:Foolish Husbands
1344:Entente cordiale
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1150:L'Homme du large
1130:Marcel L'Herbier
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285:as Claire Lescot
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216:Pierre Mac Orlan
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513:Restorations
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440:René Lalique
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212:Woman of Ice
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200:RĂ©surrection
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143:Running time
120:Release date
18:
1411:(1948-1950)
1387:(1942-1945)
1288:The New Men
1248:The Scandal
1166:L'Inhumaine
1079:L'Inhumaine
1052:L'Inhumaine
990:L'Inhumaine
936:L'Inhumaine
809:L'Inhumaine
779:L'Inhumaine
708:L'Inhumaine
700:L'Inhumaine
696:L'Inhumaine
638:11 November
612:L'Inhumaine
519:L'Inhumaine
502:L'Inhumaine
493:L'Inhumaine
474:L'Inhumaine
448:Jean Börlin
428:Paul Poiret
367:James Joyce
266:L'Inhumaine
220:L'Inhumaine
188:L'Inhumaine
173:L'Inhumaine
163:Silent film
147:135 minutes
68:Cinégraphic
65:Produced by
41:Directed by
24:L'Inhumaine
1439:1924 films
1433:Categories
1264:Le Bonheur
1240:L'Épervier
1182:Le Vertige
1092:Éclairages
988:(Paris): "
633:Silent Era
600:References
498:Adolf Loos
371:Ezra Pound
351:Erik Satie
320:Production
194:Background
51:Written by
1304:The Cheat
1158:El Dorado
767:, p. 104.
469:Reception
363:LĂ©on Blum
160:Languages
101:Edited by
1320:Rasputin
1199:L'Argent
1088:Comoedia
450:and the
373:and the
247:Synopsis
109:Music by
73:Starring
1024:25 July
462:La Roue
359:Man Ray
152:Country
131:1924-11
129: (
1419:(1953)
1403:(1946)
1395:(1946)
1379:(1943)
1371:(1942)
1363:(1941)
1355:(1940)
1347:(1939)
1339:(1939)
1331:(1938)
1323:(1938)
1315:(1937)
1307:(1937)
1299:(1937)
1291:(1936)
1283:(1935)
1275:(1935)
1267:(1934)
1259:(1934)
1251:(1934)
1243:(1933)
1235:(1931)
1227:(1930)
1219:(1930)
1211:(1930)
1203:(1928)
1193:(1928)
1185:(1926)
1177:(1925)
1169:(1924)
1161:(1921)
1153:(1920)
1145:(1920)
268:(1924)
155:France
35:Poster
1073:IMDb
1026:2009
640:2008
442:and
422:and
277:Cast
1081:et
1071:at
241:see
1435::
1017:.
863:^
741:^
674:^
631:.
538:.
531:4K
526:.
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369:,
365:,
361:,
357:,
353:,
1121:e
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1107:v
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210:(
133:)
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