Watch The Arrival of a Train at La Ciotat For Free

Touches You

Am i the only one who thinks........Average?

Admirable film.

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Among the preserved films in the "Saved from the Flames" DVD collection was this early August and Louis Lumiere clip that simply depicted a train arriving with the passengers getting off unaware they're being filmed with their faces about to be immortalized for future film archivists. According to legend, first-time audiences fled their seats (if not the theatre) thinking the train was going to come after them! While I've no doubt some truth was in that statement concerning less sophisticated viewers, I'm also sure many of them were aware it was just a moving picture projection and just sat down for some entertainment. Anyway, this 1-minute short is worth a look as historical artifact.

At just under a minute, L'Arrivée d'un train à La Ciotat (1895) is one of Louis Lumiere's earliest excursions into film-making. As was formulaic with what he called "actualités," or non-narrative shorts, Louis Lumiere set up his cinematographe (a portable crank-handled camera that triples as a film projector and developer) at such an accomplished angle as to catch the arrival of a train at La Ciotat, where it captures the bustling comers-and-goers of the station who happen to stray in front of the lens, looking altogether curious, or else wary of the unfamiliar contraption. The crowd seems lively enough, but just for good measure, Lumiere's refined wife and mother-in-law can be seen actively searching for an imaginary, but eagerly expected passenger. As uninteresting as it is (and it IS, even for the most pretentious film buff), L'Arrivée d'un train à La Ciotat's historical appeal is undeniable, if not legendary. The film's effect upon its first public viewing is a well-worn myth told to enthusiastic film students by their professors. Apparently, initial audiences, unaware of film's capacity to fully imitate reality, fled in fear of the image of a train barreling down upon the screen. The French newspaper, Le courrier du centre, (July 14, 1896) alleged the advancing locomotive made "spectators draw back instinctively fearing they'd be run over by the steel monster." Nevertheless, such a widespread and instantaneous physical response seems foolish or naïve even then, especially when the projector would have been visible and the sound audible to all seated in what at that time passed as a "theater." In reality, it is far more likely that this incident was limited to a few isolated cases, and was later exaggerated to enhance its appeal and boost the film's reputation. Consequently, the commerciality of the venture succeeded with tremendous results. Over a hundred years later, not only is L'Arrivée d'un train à La Ciotat a cinematic icon, but proof of how powerful and impressionable moving pictures could (and would) become. Recommended for those with an interest in film as an art form, or for those looking for early examples of film in history.

This movie is 50 seconds long,but it's over 110 years.I can't say that it's good movie or one of greatest or even not normal.But it's watchable.This movie(1895)is 27 years older than Nosferatu. The Arrival of the Mail Train is of course to people like Paris Hilton life's most boring 50 seconds.But even Paris should watch this.Thanks brothers Lumière's that you create the world of film. There is no acting in there.This 50-second silent film shows the entry of a steam locomotive into a train station in the French coastal town of La Ciotat. Like most of the early Lumière films consists of a single, unedited view illustrating an aspect of everyday life.6.5/10

"Arrival of a Train at La Ciotat Station" was certainly not the first documentary ever made, but a short piece of cinema that is still fascinating because of the stories of the first time it was exhibited, when terrified spectators thought the locomotive was going to crush them; and because it contains in itself many possibilities of film expression: most notably, by the movement of people and things inside the frame, the different visual ways to register human bodies and objects: a single shot that changes in seconds from establishing shot, to medium shots and close-ups, and even suggests a travelling and a dolly in. Remade many times, including one in 1995, by Patrice Leconte, in the anthology film "Lumière et compagnie", also shot at La Ciotat.