The Gay Shoe Clerk

The birth of cinema came to be for the pure value of a viewer having the capability to escape to another world without actually travelling there in real-time. As cinema evolves so does its various techniques. Films started out as series photography which Edward Muybridge perfected. With the emergence of cinema, many directors who were photographers previously came to play in the field of cinema. Directors however thought of new ways to amplify their techniques to create an even better form of visual pleasure for their films. How is this film not relevant? This is first multi-shot film with 3 full shots and it uses a Point of view shot as one of them. People need to really think before they talk. This film is a great achievement at the time.

For some reason or another, I happened to catch this little flick somewhere not too long ago.

It is basically a shoe salesman that is seduced by a women customer's good looks (who, by today's standards, really doesn't look that great at all) and proceeds to help her try on shoes. Part of the woman's dress slips and shows a third of her leg, which then the camera cuts to the man's face showing a really goofy suprised look on his face. Then the manager comes around and smacks him with an umbrella. Ouch!

Judging by the fact it was mildly amusing to watch this one minute video today, I'm sure it was absolutely hilarious about 100 years ago. Pretty decent camera work considering that no one back then was really a professional "cameraman." The whole thing seems pretty Chaplin-ish. Your typical short goofy comedy. Consider it a decent camera experiment, as that's all it really is. Nothing wrong with that, I guess.

Edwin S. Porter and the Edison Company's "The Gay Shoe Clerk" demonstrates the influence of British filmmaker George Albert Smith. This film is essentially a remake, or reworking, of Smith's "As Seen Through a Telescope" (1900); it uses the same three-shot plot, including a close-up in the middle, and the joke of a man being punished for looking at a woman's ankle while she lifts her dress. The setting was changed from a man outside using a telescope to view the leg in Smith's film to the inside of shoe store. Porter would've presumably seen Smith's film through the duping practices of the Edison Company, who stole Smith's film and distributed it as "The Professor and His Field Glass". Historian Charles Musser ("Before the Nickelodeon") says that Porter may have also been influenced by a Biograph subject, tellingly titled, "Don't Get Gay with Your Manicure" (1902/03).

More interestingly are the differences between the close-ups in Porter and Smith's films. The one in "As Seen Through a Telescope" is a masked point-of-view (POV) shot. Porter's view is not masked and is not a POV from any character's perspective, but is an ordinary ("invisible") close-up, matching-on-action, which isn't explained within the narrative, as a POV shot is. Standard film-making nowadays, but not in 1903. Yet, not even this use of the close-up was Porter's invention. The same fellow Smith had used the same kind of insert close-up in the middle of his three-shot film "The Little Doctors" (1901) (now a lost film), which he remade as "Sick Kitten" (1903). Additionally, Porter had previously inserted a close-up of a fire alarm being pulled in "Life of an American Fireman" (1903).

"The Gay Shoe Clerk" is imitative, but not deplorable as were the dupes and shot-for-shot remakes also made by the Edison Company and other studios. It remains well made for 1903 and an amusing exploitation of cinema viewing's voyeuristic nature, with the punitive gag of the character being repeatedly hit for looking at the woman's leg, while we moviegoers get away unscathed.

I suppose today 'The Amorous Shoe Clerk' would be a more accurate title for this one-scene comedy film from film pioneer Edwin S. Porter. It's quite an amusing little skit, featuring an early screen kiss and an early use of the close-up. Apart from this and, as another reviewer has pointed out, the need for care in the timing to make the joke work, the film is fairly unremarkable. Nevertheless every film, no matter how short, deserves at least ten lines according to the powers at IMDb, so here I am typing away and hoping for the best before I press the Preview button... Damn... Porter sort of faded away, you know. He was the biggest thing in movies during much of its first decade but, like Griffith 20 years later, he failed to evolve in line with the cinema. (surely that must be enough?)

The idea here is pretty simple, but it is set up rather well, and thus the movie is amusing enough despite the limited material and running time. Early film-makers often made watchable pictures just by taking a basic idea like this, thinking of an appropriate setting, and pacing it out properly. Something like this might be used a brief scene in a movie of the present time, but in its own era it stands up well enough on its own.

The story starts with the shoe clerk waiting on a flirtatious young woman, and it then follows the subsequent developments. Nothing fancy or brilliant, but it did require some care, planning, and timing to make it work. It is also a very simple example demonstrating that it is possible to convey characters' amorous intentions by very simple means, without using explicit material.