Download Life Of An American Fireman Full Movie In Italian Dubbed In Mp4

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Original Title: Life Of An American Fireman

Genge: Short,Action

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Porter's sequential continuity editing links several shots to form a narrative of firemen responding to a house fire. They leave the station with their horse drawn pumper, arrive on the scene, and effect the safe rescue of a woman from the burning house. But wait, she tells them of her child yet asleep in the burning bedroom . . .
It would be difficult for the exhibitor to conceive the amount of work involved and the number of rehearsals necessary to produce a film of this description. We were compelled to enlist the services of the fire departments of four different cities, New York, Newark, Orange, and East Orange, N. J., and about 300 firemen appear in the various scenes. From the first conception of this wonderful series of pictures it was our aim to portray the "Life of an American Fireman" without exaggeration, and at the same time to embody the dramatic situations and spectacular effects which so greatly enhance a motion picture performance. The work of American fire departments is known throughout the world, and the fame of the American fireman is echoed around the entire world. He is known to be the most expert, as well as the bravest, of all fire fighters. This film faithfully and accurately depicts his thrilling and dangerous calling and emphasizes the perils he encounters when human life is at stake, every movement of the brave firemen and their perfectly trained horses from the moment the men leap from their beds in response to an alarm until the fire is extinguished and a woman and child are rescued after many fierce battles with flame and smoke.
This film, with nine shots lasting around six minutes, is often seen as a dry run for director Edwin S Porter's major breakthrough with The Great Train Robbery, released later the same year. Both use themes with plenty of opportunity for action and movement, and indulging audiences' taste for experiencing danger vicariously. But Life of an American Fireman is more interesting for the storytelling ideas that didn't make it into the later film or, indeed, into the developing language of mainstream narrative cinema.

The film opens rather oddly on an optical effects shot of a dozing fireman, with his daydreams of a happy woman and child, presumably his own family, in a fuzzy circular mask to his right, a device borrowed from graphic art. This reverie is rudely interrupted by a striking closeup of a street fire alarm. The firemen then spring into action, speeding through the streets of a wintry New York City and its suburbs. They rescue a woman and child from a house fire, creating a thematic link back to the beginning and reinforcing the image of the fireman as heroic protector of families and communities, as befits his emerging role as a public servant – an integrated, professional fire service for the city had only existed since 1898.

The depiction of the rescue exhibits the oddest structure to modern eyes (although there's something of the same thing going on when the fire engine leaves the station). First we see a woman in a smoke filled bedroom crying for help at the window and then collapsing on the bed. A fireman bursts through the door, lifts the woman and carries her through the window down a now-waiting ladder. Seconds later he returns through the window, lifts a previously unseen child from the bed and disappears through the window again. Porter then shows us the same sequence of events again from outside the house: the fireman enters the house, the woman appears at the window, the fireman descends carrying her. Watch the bottom of the frame as they reach safety (yes, it's another of those crowded long shots): the woman recovers and begins gesticulating distraughtly. That's why the fireman returns up the ladder for the child.

The conventions of continuity editing shortly to be defined by D W Griffith and others dictate that consecutive events with a causal link take place in a single continuous time frame when depicted from different angles or even in a different location. This governs the principles of cross cutting, which would certainly be the default if a modern film maker were to shoot this story, cutting away to an exterior shot to show the recovering victim motivating her rescuer to return to the burning room, and then back to the interior again to show him lifting the child.

In fact continuity editing is just as artificial and conventional an approach to narrative as the one demonstrated here. Continuity editing creates the illusion of continuous time by cutting together shots that were invariably filmed at different times, and sometimes in completely different places. Yet it is now so fluent and familiar it seems natural, and so hegemonic that films that deliberately break its rules are seen as marked, experimental or trying to make a specific point: for example Rashômon and films inspired by it, which repeat the same events from different perspectives with subtle differences in order to challenge the audience's acceptance of the truth of what is shown on screen.

So intolerably odd did Life of an American Fireman seem to a later distributor that it was reedited to inter-cut the shots, which led to it's being hailed, rather ironically, as an early example of cross cutting. An examination of a paper print version in the 1990s revealed Porter's original montage.

Porter's film was very likely inspired by an earlier film from Britain's Brighton school, Fire! (1901), shot in Hove by James Williamson. This depicts an essentially similar sequence of events in only six shots, and though Williamson is less adept at handling the action than Porter, with much faffing around harnessing the horses and less exciting depictions of the fire engines racing through the streets, the burning bedroom (near-identically laid out to Porter's though with a male rather than a female victim) looks much more perilous, with real flames. There's no repeated continuity during the rescue sequence but instead an excellent early example of a 'match on action', with the cut between the interior and the exterior made precisely at the moment when the fireman first emerges through the window, logically linking the two shots. Williamson stays with the exterior to show the fireman returning for the child. Director Edwin S. Porter ignites things early in Life of an American Fireman with little let up in this 1903 display of narrative filmmaking. Porter literally juxtaposes (early split screen) exposition before sounding the alarm for the smoke eaters to jump into action. After some firehouse mobilization we are treated to a stunning parade of galloping fire engines in what looks to be a twelve alarm fire. Arriving at the fire (actually more smoke) engulfed home the firemen battle their way into the house to save woman and child.

Fireman has all the visual and circumstantial elements of suspense and action. It is the Towering Inferno of its day filled with human drama and in the balance moments. Porter's action is both non-stop and engrossing and if he needed any indication that this stuff had a future for making money he need look no further to the crowd quickly multiplying to watch the racing fire chariots in a top rate action film from this early period of film.

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