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It produces a constant, decent stream of vapor. Depending on the frequency if used, it can get anything from 50 minutes to several hours of vaping.
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The film is structured in double flashback, showing us how Friese- Greene's life, and enabling Donat to give a virtuoso performance in the title role.
This most underrated of British actors was particularly good at portraying tortured souls remember GOODBYE MR. CHIPS , and he manages to communicate the pain lurking at the heart of Friese-Greene's soul, once he realizes the damage he has done to his family.
Boulting is fond of using the quick close-up to register his emotions. As well as being a celebration of the inventor, THE MAGIC BOX celebrates the British film industry by offering roles to virtually all the major stars and supporting actors working in the studios at that time.
The film offers fans the pleasure of identifying people in the smallest roles, and enjoying scene-stealing cameos such as Margaret Ruthferford's irascible dowager telling Friese- Greene's first employer Guttenberg Frederick Valk off; Joyce Grenfell at her toothiest as a member of Edith's choral society; Sidney James and William Hartnell as a pair of World War One army personnel; and Laurence Olivier in his famous cameo as a London police officer marveling at Friese-Greene's invention.
Thematically speaking, Eric Ambler's script might be a familiar one, but that does not prevent viewers from enjoying the film as a celebration of a long-forgotten figure as well as British films as a whole.
Loose biography of film pioneer William Friese-Green Garry J 11 October Probably one of the finest films about film to be produced.
Made for the Festival of Britain in , the cast boasts just about every major British star of the time. The plot involves a somewhat fictionalized history of English motion picture pioneer William Friese-Green.
It is technically excellent, period details are superb and the script intelligent and poignant. Donat, as Friese-Green, is superb.
The sequence where he shows an awestruck local Bobby Laurence Olivier the first projected motion picture image is stunning. For lovers of early film A first-class actor ,playing a character from his youth to an old man,with the same talent:he is as convincing as the mischievous boy who takes photographs unbeknown to his boss as the old man who tries to save the seventh art from the moneychangers in the Temple.
The film has an unusually inventive construction:it is roughly made of two flashbacks ,but the first one takes place after the second one.
Geniuses often die unnoticed. The cinematography is splendid with tasteful colors ,the dialog does not forget humor Donat:"Enjoy yourselves! Schell:"We're going to the church!!
I know not! The cast is incredibly various and includes such luminaries as Laurence Olivier,Margaret Rutherford,Peter Ustinov,Stanley Holloway and more ,all in supporting parts or even often cameos.
How prophetic the pioneer's last words were! Superb film often overlooked when we talk about the accomplishments of the late Robert Donat. Donat proved to be a fine character actor and too bad that he died so early; otherwise, there would have been more brilliant performances in store for him.
This film is the autobiography of William Friese Greene, who by the account of this fine film, made the moving picture literally move by camera.
The film is splendidly detailed and boasted a cast of every well known British star of that period.
If you blink an eye, you don't realize that the film goes back to his first marriage. Notice that nothing is really said about what happened to his children from both marriages.
Friese Greene was a kindly, devoted inventor who should never have married. He allowed his work to neglect his responsibilities as a husband and father.
The man was a dreamer and Donat captured every movement of that dream. This was certainly a stellar film.
A beautifully filmed and acted British gem. I have the Studio Canal release which I think is very good for picture and sound. For its age the colour is excellent, perhaps due to William Friese-Greene.
As you are watching it you have to keep pausing and rewinding to see which film star you thought you saw in the crowd. It is amazing; the cover says "SEE 60 FAMOUS FILM STARS".
How the director got so many stars to appear, some for just a few seconds is astonishing. If you get the chance watch this film.
I am a Margaret Rutherford fan and was delighted to see her cameo role here. It was only short but adds to my collection.
Cineanalyst 21 December This biopic of inventor William Friese-Greene was based on Ray Allister's book "Friese-Greene: Close-up of an Inventor".
Allister used the recollections of the inventor's family and friends for his biography. Such sources have oft proved unreliable, and this is such a case.
Brian Coe and other historians have since debunked some of the myths invented by Friese-Greene and perpetuated by his family, friends and biographers.
The mythical result here, in this film, is that Friese-Greene appears as the primary inventor of motion pictures and cinema.
The climax of "The Magic Box" has Friese-Greene projecting his film taken at Hyde Park to a policeman. The film-within-the-film is not the actual photographs taken by Friese-Greene, but the invention of the makers of "The Magic Box".
Moreover, it would be the first multi-shot film, preceding by about eight years the earliest such films that I've seen or read of. The first part, which takes place in the park, with a man and his son approaching the camera, is followed by the so-called scene of leisurely pedestrians, open-topped buses and hansom cabs with trotting horses.
In this last part, however, which doesn't exist today, appears within "The Magic Box" as a scene of curious observers looking at the likewise observing camera.
Allister, however, has reprinted six frames of the first part of the subjects. Others have surmised that this film was taken at about four or five frames per second.
The film within "The Magic Box", however appears to have been photographed at least at 16 frames per second, which is generally acknowledged as the minimum speed for the illusion of motion.
Moreover, the Hyde Park film probably wasn't seamlessly projected; the film wasn't even perforated. Two frames each were also photographed at a time, which explains why, as you can see in "The Magic Box", Friese-Greene's camera features two lenses.
This was because the film was a stereoscopy attempt; that is, Friese-Greene thought he might be able to produce three-dimensional images by overlapping two simultaneously photographed frames.
Allister has also reprinted four frames from another film by Friese-Greene--a street scene taken in Chelsea.
This film is perforated, but still appears to have been photographed at probably no more than five frames per second.
On a further historical note, Friese-Greene is said to have given some public demonstrations of films, although he doesn't seem to have been too successful with them.
Later, he gave public showings of Birt Acres's films, which seems an indication of his own incomplete work on motion pictures.
Additionally, Greene's former business partner Arthur Collings did go on to become one of Britain's earliest filmmakers; he was giving public performances of his films in late In short, the movie industry demonstrated itself incapable of rendering even its own history accurately.
This isn't necessarily a knock on the quality of "The Magic Box", though. I've come not to expect accurate history lessons from movies and, sometimes, not even from books.
Interestingly, and probably more accurately, Friese-Greene's life is depicted throughout the rest of the film as an indebted and failed inventor, who lost his family and, it would seem, part of his sanity.
The flashback storytelling structure is accessible. Good quality and delivered promptly. This is the first album I ever bought - all those years ago - so I thought the least I could do was to say a few words about it, and them - The Loved Ones.
The Loved Ones shone brightly yet briefly across the sky of Australian music in the s - this is the only album they released, and this version features some valuable bonus tracks.
In fact, their whole career is covered on this release. Their sound is raw, both in recorded and live form, giving them an eternal garage band feel.
My favorite tracks are "Sad Darl Eyes" and Everlovin' Man," Gerry Humphrys, the lead singer, was a cult figure in those days. After the band split, and he had a few years as leader of Gerry and the Joy Band, he returned to his native England and worked as a psychiatric nurse, though the band did do a reunion tour in the s.
Sadly, Gerry is no longer with us. Guitarist Rob Lovett joined up with two other soloists who formed The Virgil Brothers for a short while.
Despite their relatively obscure status, I can't remember a time when this album has unavailable, and given its ultra-reasonable price, it is well worth having.
The band's anthem was and remains "The Loved One," a hand-clapping, high-charting single covered years later by INXS, but in my humble opinion several other tracks have aged better.
So, for some Australian music history, and some raw, thumping 60s music Firstly,I was surprised to find the loved ones on Amazon. Both The loved one and Everlovin Man were hits for this Australian 60's band back in Everlovin man was a number two.
I think this band is quite capable of not only rock but blues, just listen to "The woman I love" and their version of "I want you to love me".
These are quite good cuts, but they were also good on ballads, like "This is love" and "Love song" the latter my favourite on the album and perhaps their most underrated song [don't worry about the liner notes] Gerry Humphreys had an interesting deep voice, on the harsh side, though his softer voice comes through on "Sad dark eyes and THis is love" and the Loved ones had a good mix of guitar, bass, electric piano, blues, rock and ballad.
If you like 60's music with a bluesy edge, I'd recommend it to you. Two of the songs on this album are so good, I'd like to give it 5 stars, but there are several fillers, and the lyrics of "My Name Is Earl" [which continues "and I need a girl"] make me wonder if he was the bloke The Dixie Chicks despatched!
Ooh, it makes me wonder! Gerry Humphreys, the vocalist, is hot on this track, but even hotter on Everlovin' Man. It's not the most energetic or punchy presentation — there's a degree of lethargy and muffle next to the clarity and precision of the best — but if you want stylish looks and smooth sounds, the Touch is well worth a try.
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