Germaine Dulac

Sog.: dall’omonima poesia di Charles Baudelaire; Scen.: Germaine Dulac; F.: Paul Guichard, Lucien Bellavoine; Scgf.: Cesaré Silvagni, Hugo Squarciafico; Ass. R.: Marie-Anne Malleville, Louis Ronjat; Int.: Emma Gynt (donna), Raymond Dubreuil (marinaio), Robert Mirfeuil (festaiolo), Paul Lorbert (marinaio), Tania Daleyme (ragazza), Djemil Anik (bal- lerina), Lucien Bataille (batterista); Prod.: Germaine Dulac / Productions Natan 35mm. L.: 797 m. D.: 39’ a 18 f/s. Bn, virato / toned.


T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Dulac referred to L’Invitation au voyage as a “melody of images” composed in response to the literary and theatrical cinema of the time. Named after a symbolist poem by Baudelaire and a melody by Duparc, it is one of the best examples of the director’s “cinema of suggestion”, as it seeks to capture the slightest nuances of the evolving sentiments between a young officer and a married woman who meet in a night-time cabaret. The film’s movement, rhythm, and recurring circular motifs (props, setting, and cinematography), which express the emancipation of the female protagonist and the general mobility of sex roles, can also be seen to anticipate her “pure” films, such as Disque 957 (1929).

Tami Williams


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