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Annabelle Serpentine Dance
In a long, diaphanous skirt, held out by her hands with arms extended, Broadway dancer Annabelle Moore performs. Her dance emphasizes the movement of the flowing cloth. She moves to her right and left across an unadorned stage. Many of the prints were distributed in hand-tinted color.
Release : | 1895 |
Rating : | 6.5 |
Studio : | Edison Studios, |
Crew : | Director, Director, |
Cast : | |
Genre : | Documentary |
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Reviews
Sorry, this movie sucks
The film makes a home in your brain and the only cure is to see it again.
It's an amazing and heartbreaking story.
The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.
While Dickson and Heise pretty much dominated 1894, there's some more movie makers in 1895 now. The possibly most famous film still comes from Dickson and Heise. It features Annabelle Moore, who turned into a bit of a film regular in the next years. She shows a beautiful serpentine dance and it's really nice to watch all the floating and waving tissue, especially with the use of color. The dress quickly changes between purple, pink, orange and bright yellow, with which it starts. Annabelle's long hair is colored as well and the orange they used for it and the constantly changing dress colors almost give it a surreal feel. Anyway, the film is really short and definitely worth a watch for silent film lovers. Certainly a contender for 1895's finest.
. . . Annabelle Whitford (the ONLY dancer in this short; "jHailey's 'storyline' that appears on this page AS OF TODAY is for a different, LATER Annabelle short!) is dressed and tinted here to resemble a certain part of the female anatomy that we in the South simply refer to as "down there." Thomas Alva Edison and his henchmen behind his cameras no doubt ran across this shameless hussy during one of their nights of "Wilding," when they left the all-male confines of their New Jersey labs to blow off some steam in big, bad New York City. Probably it was old Tom himself who came up with the idea to tint Annabelle's wild mop of hair carrot orange, so that her whole head would resemble a female unmentionable when coupled with the luridly swirling pink-tinted lip-like silken skirts wantonly flapping about below it. LAST TANGO IN PAR!S is pretty tame stuff when you see how much raw sex Tom Edison can cram into the 14.34 seconds of ANNABELLE SERPENTINE DANCE!
Could this be one of the earliest colour films? It's actually the second. This is a very beautiful piece of film produced by Thomas Edison. This was one of many of his other films.I think this is the most beautiful of any Thomas Edison films. It shows a girl dancing and moving her dress all around, which turns red with the film. It's just beautiful.You are watching history when you watch this. You are watching what began to make movies of the day great! This may not have a plot, or anything very interesting, but this is the second colour film ever.I recommend this to everyone, especially if you're teaching students about filming or something of the sort, you have to show them what began color films!
In this approximately 34-second Thomas Edison-produced short, we see Annabelle Moore performing the Loie Fuller-choreographed "Serpentine Dance" in two different fantastical, flowing robes.Moore was one of the bigger stars of the late Victorian era. She was featured in a number of Edison Company shorts, including this one, which was among the first Kinetoscope films shown in London in 1894.Loie Fuller had actually patented the Serpentine Dance, which Moore performs here in robes (as well as entire frames) that are frequently hand tinted in the film, presaging one of the more common symbolic devices of the silent era. Supposedly, the Moore films were popular enough to have to be frequently redone (including refilming). The version available to us now may be a later version/remake. Moore became even more popular when it was rumored that she would appear naked at a private party at a restaurant in New York City. She later went on to star as the "Gibson Bathing Girl" in the Ziegfeld Follies in 1907. She appeared there until 1912.The short is notable for its framing of motion, which, especially during the "second half", becomes almost abstract. It somewhat resembles a Morris Louis painting, even though this is almost 60 years before Louis' relevant work.You should be able to find this short on DVD on a number of different anthologies of early films.