Ivo Blom recently bought this wonderful series of postcards published by Croissant in Paris for the film company Gaumont. The 10 postcards show scenes of the lost French 'phonoscène'Faust by pioneering film director Alice Guy. The earliest proof of a showing of the film, or rather series of short sound films, dates from 1905. So the film dates from that year or just before. The captions on the postcards refer to lines from the libretto by Jules Barbier and Michel Carré for the opera 'Faust' (1859) by Charles Gounod, which was loosely based on Goethe's classic play. The film is not to be confused with Faust et Méphistophéles (Alice Guy, 1903), which still exists and is another film.
![Faust (Alice Guy, Gaumont prob. 1905)]()
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The card refers to no. 4, the Duet of the First Act between Faust and Mephistopheles.
![Faust (Alice Guy, Gaumont prob. 1905)]()
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). This card refers to Faust's Cavatine, no. 12 of the Third Act.
![Faust (Alice Guy, Gaumont prob. 1905)]()
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). This card refers to the Chanson du Roi de Thulé, no. 14 of the Third Act.
![Faust (Alice Guy, Gaumont prob. 1905)]()
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The card refers to the Quartet between Faust, Marguerite, Mephistopheles, and Marthe, no. 16 of the Third Act.
![Faust (Alice Guy, Gaumont prob. 1905)]()
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 18 of the Third Act.
Rose Theresa writes in the volume 'Between Opera and Cinema' (2002) that Faust dates from 1907 and was Alice Guy's last and most complete operatic adaptation, existing of 22 phonoscène films, referring to famous moments in the opera. Longer scenes like that in the garden were filmed in multiple phonoscènes, while others matched the length of the accompanying wax cilinders with the music. However the date is a mistake. The site Le grimh shows an original ad for a Charleroi (Belgium) screening of the film, which already took place in 1905.
The Phonoscène was a kind of a forerunner of sound cinema, combining a chronophone sound recording with a chronograph film shot with actors lip-synching to the sound recording. The recording and film were synchronised by a mechanism patented in 1902 by Léon Gaumont, who presented the first phonoscènes in the same year in France. Alice Guy, who was head of film production at Gaumont between 1896 and 1906, shot countless phonoscènes after popular French operas such as Carmen, Mireille and Faust, but also recorded popular vaudeville singers and comedians such as Félix Mayol and Dranem.
Gounod's 'Faust' was - and still is - one of the most popular and well-known French operas. In the early cinema it was adapted several times to film by Georges Méliès, Gaumont and Cines, while Friedrich Wilhelm Murnau's version of 1926 has become the most memorable one, thanks to the acting performances (e.g. by Emil Jannings as Mephisto) and the wonderful special effects. The most recent version is Aleksandr Sokoerov's Faust (2011), which won a Golden Lion in Venice.
Wikipedia describes the plot of Gounod's opera, which takes place in 16th century Germany. In the First Act, Faust, an aging scholar, determines that his studies have come to nothing and have only caused him to miss out on life and love. He curses hope and faith, and asks for infernal guidance. Méphistophélès appears and, with a tempting image of Marguerite at her spinning wheel, persuades Faust to buy the devil's services on Earth in exchange for Faust's in Hell. Faust's goblet of poison is magically transformed into an elixir of youth, making the aged doctor a handsome young gentleman. Then the strange companions set out into the world.
In the Second Act, at the city gates, a chorus of students, soldiers and villagers sings a drinking song. Valentin, leaving for war with his friend Wagner, entrusts the care of his sister Marguerite to his youthful friend Siébel. Méphistophélès appears, provides the crowd with wine, and sings a rousing, irreverent song about the Golden Calf. Méphistophélès maligns Marguerite, and Valentin tries to strike him with his sword, which shatters in the air. Valentin and friends use the cross-shaped hilts of their swords to fend off what they now know is an infernal power. Méphistophélès is joined by Faust and the villagers in a waltz. Marguerite appears and Faust declares his admiration, but she refuses Faust's arm out of modesty, a quality that makes him love her even more.
In the Third Act, the lovesick boy Siébel leaves a bouquet for Marguerite. Faust sends Méphistophélès in search of a gift for Marguerite and sings a cavatina, idealizing Marguerite as a pure child of nature. Méphistophélès brings in a decorated box containing exquisite jewelry and a hand mirror and leaves it on Marguerite's doorstep, next to Siébel's flowers. Marguerite enters, pondering her encounter with Faust at the city gates, and sings a melancholy ballad about the King of Thule. Marthe, Marguerite's neighbour, notices the jewellery and says it must be from an admirer. Marguerite tries on the jewels and is captivated by how they enhance her beauty, as she sings in the famous aria, the Jewel Song. Méphistophélès and Faust join the women in the garden and romance them. Marguerite allows Faust to kiss her, but then asks him to go away. She sings at her window for his quick return, and Faust, listening, returns to her. Under the watchful eye and malevolent laughter of Méphistophélès, it is clear that Faust's seduction of Marguerite will be successful.
In the Fourth Act, after being made pregnant and seemingly abandoned by Faust, Marguerite has given birth and has become a social outcast. She sings an aria at her spinning wheel. Siébel stands by her. The scene shifts to the square outside Marguerite's house. Valentin's company returns from the war to a military march. Siébel asks Valentin to forgive Marguerite. Valentin rushes to her cottage. While he is inside Faust and Méphistophélès appear, and the devil, knowing that Marguerite is not in there alone, sings a mocking burlesque of a lover's serenade under Marguerite's window. Valentin takes the bait and comes out of the cottage, now knowing that Faust has debauched his sister. The two men fight, but Faust is reluctant to hurt the brother of the woman he adores. Méphistophélès blocks Valentin's sword, allowing Faust to make the fatal thrust. With his dying breath Valentin blames Marguerite for his death and condemns her to Hell before the assembled townspeople. Marguerite goes to the church and tries to pray there but is stopped, first by the sadistic Méphistophélès and then by a choir of devils. She finishes her prayer but faints when she is cursed again by the devil.
In the Fifth and final act, Méphistophélès and Faust are surrounded by witches. Faust is transported to a cave of queens and courtesans, and Méphistophélès promises to provide Faust with the love of the greatest and most beautiful women in history. An orgiastic ballet suggests the revelry that continues throughout the night. As dawn approaches, Faust sees a vision of Marguerite and calls for her. Méphistophélès helps Faust enter the prison where Marguerite is being held for killing her child. They sing a love duet. Méphistophélès states that only a mortal hand can deliver Marguerite from her fate, and Faust offers to rescue her from the hangman, but she prefers to trust her fate to God and His angels. At the end she asks why Faust's hands are covered in blood, pushes him away, and falls down motionless. Méphistophélès curses, as a voice on high sings "Saved!". The bells of Easter sound and a chorus of angels sings "Christ is risen!". The walls of the prison open, and Marguerite's soul rises to heaven. In despair Faust follows it with his eyes; he falls to his knees and prays. Méphistophélès is turned away by the shining sword of the archangel.
![Faust (Alice Guy, Gaumont prob. 1905)]()
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 18 of the Third Act.
![Faust (Alice Guy, Gaumont prob. 1905)]()
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 24 of the Third Act.
![Faust (Alice Guy, Gaumont prob. 1905)]()
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 21 of the Fourth Act.
![Faust (Alice Guy, Gaumont prob. 1905)]()
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 25 of the Fourth Act, in which Valentin is killed by Faust with the help of Mephistopheles.
![Faust (Alice Guy, Gaumont prob. 1905)]()
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 30 of the Fifth Act. Faust tries to convince Marguerite to flee with him, but she'd rather die than giving up her faith.
Sources: Alison McMahon, Faust libretto by Barbier and Carré, Rose Theresa (Between Opera and Cinema), Le Grimh and Wikipedia.
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The card refers to no. 4, the Duet of the First Act between Faust and Mephistopheles.
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). This card refers to Faust's Cavatine, no. 12 of the Third Act.
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). This card refers to the Chanson du Roi de Thulé, no. 14 of the Third Act.
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The card refers to the Quartet between Faust, Marguerite, Mephistopheles, and Marthe, no. 16 of the Third Act.
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 18 of the Third Act.
A forerunner of sound cinema
Rose Theresa writes in the volume 'Between Opera and Cinema' (2002) that Faust dates from 1907 and was Alice Guy's last and most complete operatic adaptation, existing of 22 phonoscène films, referring to famous moments in the opera. Longer scenes like that in the garden were filmed in multiple phonoscènes, while others matched the length of the accompanying wax cilinders with the music. However the date is a mistake. The site Le grimh shows an original ad for a Charleroi (Belgium) screening of the film, which already took place in 1905.
The Phonoscène was a kind of a forerunner of sound cinema, combining a chronophone sound recording with a chronograph film shot with actors lip-synching to the sound recording. The recording and film were synchronised by a mechanism patented in 1902 by Léon Gaumont, who presented the first phonoscènes in the same year in France. Alice Guy, who was head of film production at Gaumont between 1896 and 1906, shot countless phonoscènes after popular French operas such as Carmen, Mireille and Faust, but also recorded popular vaudeville singers and comedians such as Félix Mayol and Dranem.
Gounod's 'Faust' was - and still is - one of the most popular and well-known French operas. In the early cinema it was adapted several times to film by Georges Méliès, Gaumont and Cines, while Friedrich Wilhelm Murnau's version of 1926 has become the most memorable one, thanks to the acting performances (e.g. by Emil Jannings as Mephisto) and the wonderful special effects. The most recent version is Aleksandr Sokoerov's Faust (2011), which won a Golden Lion in Venice.
Wikipedia describes the plot of Gounod's opera, which takes place in 16th century Germany. In the First Act, Faust, an aging scholar, determines that his studies have come to nothing and have only caused him to miss out on life and love. He curses hope and faith, and asks for infernal guidance. Méphistophélès appears and, with a tempting image of Marguerite at her spinning wheel, persuades Faust to buy the devil's services on Earth in exchange for Faust's in Hell. Faust's goblet of poison is magically transformed into an elixir of youth, making the aged doctor a handsome young gentleman. Then the strange companions set out into the world.
In the Second Act, at the city gates, a chorus of students, soldiers and villagers sings a drinking song. Valentin, leaving for war with his friend Wagner, entrusts the care of his sister Marguerite to his youthful friend Siébel. Méphistophélès appears, provides the crowd with wine, and sings a rousing, irreverent song about the Golden Calf. Méphistophélès maligns Marguerite, and Valentin tries to strike him with his sword, which shatters in the air. Valentin and friends use the cross-shaped hilts of their swords to fend off what they now know is an infernal power. Méphistophélès is joined by Faust and the villagers in a waltz. Marguerite appears and Faust declares his admiration, but she refuses Faust's arm out of modesty, a quality that makes him love her even more.
In the Third Act, the lovesick boy Siébel leaves a bouquet for Marguerite. Faust sends Méphistophélès in search of a gift for Marguerite and sings a cavatina, idealizing Marguerite as a pure child of nature. Méphistophélès brings in a decorated box containing exquisite jewelry and a hand mirror and leaves it on Marguerite's doorstep, next to Siébel's flowers. Marguerite enters, pondering her encounter with Faust at the city gates, and sings a melancholy ballad about the King of Thule. Marthe, Marguerite's neighbour, notices the jewellery and says it must be from an admirer. Marguerite tries on the jewels and is captivated by how they enhance her beauty, as she sings in the famous aria, the Jewel Song. Méphistophélès and Faust join the women in the garden and romance them. Marguerite allows Faust to kiss her, but then asks him to go away. She sings at her window for his quick return, and Faust, listening, returns to her. Under the watchful eye and malevolent laughter of Méphistophélès, it is clear that Faust's seduction of Marguerite will be successful.
In the Fourth Act, after being made pregnant and seemingly abandoned by Faust, Marguerite has given birth and has become a social outcast. She sings an aria at her spinning wheel. Siébel stands by her. The scene shifts to the square outside Marguerite's house. Valentin's company returns from the war to a military march. Siébel asks Valentin to forgive Marguerite. Valentin rushes to her cottage. While he is inside Faust and Méphistophélès appear, and the devil, knowing that Marguerite is not in there alone, sings a mocking burlesque of a lover's serenade under Marguerite's window. Valentin takes the bait and comes out of the cottage, now knowing that Faust has debauched his sister. The two men fight, but Faust is reluctant to hurt the brother of the woman he adores. Méphistophélès blocks Valentin's sword, allowing Faust to make the fatal thrust. With his dying breath Valentin blames Marguerite for his death and condemns her to Hell before the assembled townspeople. Marguerite goes to the church and tries to pray there but is stopped, first by the sadistic Méphistophélès and then by a choir of devils. She finishes her prayer but faints when she is cursed again by the devil.
In the Fifth and final act, Méphistophélès and Faust are surrounded by witches. Faust is transported to a cave of queens and courtesans, and Méphistophélès promises to provide Faust with the love of the greatest and most beautiful women in history. An orgiastic ballet suggests the revelry that continues throughout the night. As dawn approaches, Faust sees a vision of Marguerite and calls for her. Méphistophélès helps Faust enter the prison where Marguerite is being held for killing her child. They sing a love duet. Méphistophélès states that only a mortal hand can deliver Marguerite from her fate, and Faust offers to rescue her from the hangman, but she prefers to trust her fate to God and His angels. At the end she asks why Faust's hands are covered in blood, pushes him away, and falls down motionless. Méphistophélès curses, as a voice on high sings "Saved!". The bells of Easter sound and a chorus of angels sings "Christ is risen!". The walls of the prison open, and Marguerite's soul rises to heaven. In despair Faust follows it with his eyes; he falls to his knees and prays. Méphistophélès is turned away by the shining sword of the archangel.
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 18 of the Third Act.
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 24 of the Third Act.
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 21 of the Fourth Act.
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 25 of the Fourth Act, in which Valentin is killed by Faust with the help of Mephistopheles.
French postcard by Croissant, Paris, no. 3680. Postcard for Faust (Alice Guy, 1905). The caption refers to no. 30 of the Fifth Act. Faust tries to convince Marguerite to flee with him, but she'd rather die than giving up her faith.
Sources: Alison McMahon, Faust libretto by Barbier and Carré, Rose Theresa (Between Opera and Cinema), Le Grimh and Wikipedia.