Life Models
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Old Parson Raynes (Le vieux pasteur Raynes)
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- Document associé
- Argument
| Titre | 7. ''SEE JANET !'' ''THAT'S MY ERIC'' |
|---|---|
| Distributeur d'origine | Riley Brothers |
| Fabricant | York & Son |
| Époque | Fin du XIXème siècle |
| Lieu de fabrication | Angleterre (Lancaster Road, Notting Hill, Londres) |
| Description technique | life models, photographie rehaussée de couleurs, plaque carrée fixe |
| Dimensions | L. 81 mm l. 81 mm |
| Cote | PLM-00077-007 (Coll. Cinémathèque française) |
- Old Parson Rayne - livret
- Old Janet's lips trembled as she wheeled her master's chair in front of the fire, drew the red curtains across the window, and lit the lamp.
"Yes, dearie," she said soothingly. "Maybe he will - maybe he will."
"See, Janet !" exclaimed Parson Rayne lifting his arm, and pointing with his trembling finger to the picture of the golden-haired boy that hung above the mantelshelf. "That's my Eric. Do you remember him, Janet? It's hundred years since he went away."
Janet said never a word, but went out of the room, lest her full heart should overflow and her master should see her grief.
Parson Rayne sat back in his easy-chair, with his hands folded across his breast, and his eyes fixed upon little Eric - his Eric, his blue-eyed, golden-haired boy that was coming home tonight.
Gradually his eyes closed, and a deep sleep came upon him.
The clock tocked open, and still he slept. In his sleep he muttered. "Eric" now and then, for the child had passed from the painter's inanimate canvas to the living canvas of his brain, and in his dream he sat the laughing boy upon his knee.
Old Janet stole softly in and out, and finding her master asleep, would not disturb him.
It was about seven o'clock when a gentle knock came at the door.
Janet opened it quietly, lest she should disturb the parson.
There were three persons standing in the darkness - a gentleman, a lady and a little boy.
The gentleman was the young curate.
"Let us speak with you alone, Mistress Janet," he said,"Where is the vicar ?"
"In the sitting room,a sleep," answered Janet, wondering what visitors the curate had brought so late at night.
The curate held the door open, and motioned to the lady to follow him. And Janet, astonished, led way to the kitchen.
Janet started when the little group stood in the light, and she saw the face of the little boy, who clung timidly to the lady's dress.
George R. Sims, "Old Parson Rayne", in Theatre of life (1881)
Un jour, une dispute éclate entre le pasteur et son fils et celui ci décide de quitter la maison familiale (plaques 1 et 2), laissant son père seul avec la domestique de la maison (plaque 3). Cette absence est difficile à vivre pour le pasteur, qui passe des heures devant le portrait de son fils et affirme tous les soirs que celui-ci va rentrer (plaques 4 et 5). Petit à petit, la raison de l'homme est bouleversée par sa tristesse. Il se terre dans un silence et attend inlassablement devant sa fenêtre (plaques 6 et 7).
Un soir, la domestique reçoit la visite du nouveau pasteur accompagné d'une femme et d'un jeune garçon (plaque 8).
La domestique reconnaît de suite l'enfant qui a les traits du fils parti si brutalement sans jamais donner de nouvelles. La femme qui se tient devant elle lui apprend que cet enfnt est le petit-fils du pasteur. Hélas, le fils du pasteur est mort, laissant un enfant et une veuve. Sur son lit de mort, le fils du pasteur a demandé à sa femme de retourner dans sa maison familiale, afin que le jeune garçon puisse connaître son grand-père (plaque 9).
La domestique sait que la raison de vieux pasteur est vacillante et décide de lui présenter l'enfant seul (plaque 10). Comme l'avait pensé la domestique, le pasteur prend l'enfant pour son propre fils (plaque 11) avant de réaliser que c'est son petit-fils. Finalement l'homme retrouve la raison et profite de joyeux moments en compagnie de ce petit-fils qu'il n'espérait plus (plaque 12).
