282:"had a staggering effect on the filmmakers then. The accelerated movement of this synthetic drama, suffused with poetry, was an unprecedented novelty." Delluc's original screenplay consisted of 217 numbered scenes, with each scene indicated by single line of text, and a gradual acceleration in the pace of these shots is observed as the film progresses.
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338:, which originally ran 67 minutes, have survived. According to Williams, this consists of three or four short and disconnected sequences from throughout the film. These nitrate negative fragments were acquired by Henri Langlois in 1938 from Éclair, and were transferred to safety film in 1948; nothing else of
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During a festival day in a small
Spanish town, lifelong friends Miguélan and Réal return to visit with their shared object of affection, the dancer Soledad. Faintly amused, she cares for neither one of them, but proposes that they should fight to the death for her hand. As the two friends struggle,
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was praised as something vital and new in French cinema, although—as observed by Tami
Williams—the praise was directed toward Delluc, and not Dulac. For Delluc's part, he never avoided praising Dulac's contribution to the success of the film, stating that it was "a rare example of complete
266:. For the duration of the shooting, which concluded in November, Delluc was only seen intermittently on the set. He was, however, fully involved in editing the film with Dulac. It was screened for critics on 17 March 1920, and went into release either 31 March or 7 May 1920.
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cooperation in French cinema. Author, director and actors have agreed, through their specific affinities and willingness to work, to seek the absolute realization of the chosen theme." Ève
Francis commented that
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Louis Delluc, from an article published in Paris-Midi, 4 May 1920, in Ecrits cinématographiques III, Drames de cinéma, Cinémathèque française et
Editions de l’étoile/Cahiers du cinéma, Paris, 1990, p. 27
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has turned up since then. Nevertheless, this film remnant is still shown periodically in retrospectives of Dulac's work and was included, in 2012, in the
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Eric Rohmer and Michel Madöre, Interview with Henri
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Soledad pursues
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Delluc's screenplay was one of three published under the title
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was "the key film of French film history: as important as
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