The Delhi Durbar
Charles Urban's greatest achievement was the Kinemacolor record of the 1911 Delhi Durbar. This spectacular ceremony was held in Delhi, India, to recognise the newly-crowned King George V as Emperor of India. Several companies filmed the ceremonies in black-and-white. Urban took four or five cameramen with him to film the entire royal visit to India in the Kinemacolor process. The resultant film show was first exhibited at the Scala Theatre in London on 2 February 1912, under the title With Our King and Queen through India. The show lasted some two-and-a-half hours. The Scala stage was turned into a mock-up of the Taj Mahal. Music was specially composed and scored for forty-eight pieces, a chorus of twenty-four, a twenty-piece fife and drum corps, and three bagpipes. The show was a sensational success, drawing many to come to see motion pictures for the first time, and it was exhibited in various forms and at various lengths across the world, winning plaudits for its colour, fidelity to nature and its patriotic spectacle.
The text presented here is the description of the entire set of Durbar films from the 1912 Kinemacolor catalogue, plus a selection of contemporary press notices taken from the same catalogue. The description gives both a good indication of the contents of the films, as well as the unabashed imperial tone with which they were presented to an audience. The films were divided up into sections in the catalogue, each with a code number and code name, for exhibitors to cite when booking the films. Illustrations from the catalogue are given on the right-hand side. Today, only a reel from the Royal Review section (which took place after the main Durbar ceremonies) survives today. The remainder is believed lost.
THE ROYAL VISIT TO INDIA, 1911-1912.
The KINEMACOLOR Reproduction in all their Gorgeous Colors of the Ceremonies, Processions and Pageants in Bombay, Delhi and Calcutta during Their Imperial Majesties' Visit to India for the Coronation Durbar.
WITH the reproduction in all their gorgeous colors of scenes during the tour through their Indian Empire in 19II-1912 of Their Imperial Majesties King George V. and Queen Mary, KINEMACOLOR, by universal consent, attained the highest pinnacle of achievement yet approached even by this wonderful system of kinematography in natural colors. KINEMACOLOR, it may fairly be claimed, has now become an institution of indispensable public utility. Whenever events of importance occur in any part of the world everyone may be sure of seeing exactly what happened without the inconvenience of long waiting in crowds, or perhaps a journey - for the majority impossible - to a distant land.
When, amid the splendours of an Oriental setting, His Gracious Majesty was acclaimed Emperor of India, the attendant ceremonies eclipsed in magnificence anything conceivable in the more sombre West. The public at home read the eloquent attempts of newspaper correspondents to convey in print an idea of the amazingly beautiful color effects that made the Durbar an unforgettable experience to those who saw it. But mere words, as the writers confessed, failed utterly; the magnificence of Indian ceremonial must be seen to be believed, and thanks to the advance of science as exemplified by KINEMACOLOR these splendours can be seen -not for a fleeting moment only, as the gay cavalcades pass across an Indian plain -but seen time after time by audiences all over the world, as KINEMACOLOR reconstructs at command each smallest detail of movement and color. The thoughtful spectator may well inquire what greater marvel the future holds in store for the race.
The series of films described in this section of the KINEMACOLOR Catalogue present the principal occurrences during three weeks' pageantry in Bombay, Delhi and Calcutta, from the moment of the arrival of Their Imperial Majesties at the Apollo Bunder, Bombay, and include the State Entry into Delhi, the Coronation Durbar and a variety of interesting ceremonies during Their Majesties' stay at King's Camp, Delhi. Of a number of episodes at Calcutta the most amazing is the Elephant Procession – a magnificent example of color reproduction. By virtue of his appointment by His Most Gracious Majesty the King-Emperor, Mr. Charles Urban and his KINEMACOLOR staff were the guests of the Indian Government and received special facilities which only made the results herein described possible of attainment.
Royal Visit to Bombay
December 2-4, 1911
IN this subject, the first of the KINEMACOLOR Indian series, the arrival of Their Imperial Majesties on Indian soil, and their enthusiastic welcome by the population of Bombay are shown. In the bright Indian sunshine every detail is distinct and clear. A probably unique picture of His Majesty the King is included. King George is about to step into a motor car; he pauses on the step, and the camera man, making the most of the opportunity, secures a most human picture of the King in ordinary dress and looking the unaffected English gentleman that he is.
A children's festival, attended by many thousands of children, mostly native, and therefore in bright colors, provides another excellent section. The enthusiasm of the youngsters positively radiates from the screen to the spectator and the scene is simply a blaze of color.
1. The Crowds Waiting
for the arrival of the Royal party at the Apollo Bunder, the principal landing stage of Bombay. On the left are the Yacht Club headquarters. This great day in the history of Bombay coincided with the Mahometan festival of Bakrid, or Day of Goats, and the Mahometans in the streets were consequently attired in new clothes of the gayest hues.
2. A Very Striking Picture taken through the special pavilion erected for the reception of Their Majesties, and showing the Royal P. and O. Liner, S.S. Medina, and one of the cruisers accompanying it, in the offing, just after having rounded Colaba Point.
3. The Taj Mahal Palace Hotel in the Background The bluejackets from the Medina marching to take up their position.
4. The Governor General, Lord Hardinge,
and Bombay officials coming to the landing stage, preparatory to meeting Their Imperial Majesties on the Medina.
5. The Landing of the Royal Party
at the Apollo Bunder. First come on land the Governor-General and his party.
6. The Royal Launch
is then seen approaching the landing stage. Its burnished brass work and new paint instantly attract notice.
7. The King and Queen
walk up the red baize-covered gangway. The King-Emperor is in the plain white dress uniform of an Admiral of the Fleet, with the ribbon of the Star of India, the Orders of the Garter and the Star of the Indian Empire. The Queen-Empress is wearing the ribbon of the Garter across the front of her dress. All these details are quite clearly recorded on the screen.
8. The Snow White Pavilion
a replica of a mosque, with golden decorations and surmounted by a large dome-erected for the reception of Their Imperial Majesties, who were received by the Governor-General, the Governor of Bombay (Sir George Clarke), Rear-Admiral Slade, the General Officer commanding 6th (Poona) Brigade, the Bishop of Bombay, the Roman Catholic Archbishop, the Chief Justice, etc.
9: The Procession
advancing along a carpeted colonnade of Saracenic pillars. Behind them are carried red and gold umbrellas, and an Oriental fan known as a "surajmukh," or "golden fan," these being symbols of the most exalted authority.
10. Their Majesties Seated on Thrones
and receiving an address from the Municipality. The President of the Bombay Municipal Council is Sir P.M. Mehta. On the right of the King-Emperor is Lord Hardinge, behind him the Marquis of Crewe and the Earl of Durham; beside the Queen-Empress is Sir George Clarke, Governor of Bombay, very conspicuous in a black-and-gold uniform. Behind Sir George Clarke are Lord and Lady Shaftesbury, the Duchess of Devonshire and the remainder of the suite.
11. Royal Procession through Bombay
First come the 7th Dragoon Guards, then the 26th Indian (King's Own) Native Light Cavalry, the Bombay Light Horse, and the "V" Battery of the R.H.A.
12. Their Majesties' Carriage
The "surajmukh" is held over the King and Queen, and over the Governor-General (who occupies the second carriage with Lord Crewe) is held a plain red silk umbrella denoting his exalted position. In the third carriage is Sir George and Lady Clarke, and here also may be observed a red umbrella. Other carriages contain members of Their Majesties' suite.
13. A Mounted Escort
of Indian Light Cavalry brings up the rear. The procession passes at a trot and the uniforms of the native troops supply a brilliant splash of color.
14. The Second Day
Landing of Their Imperial Majesties at the Apollo Bunder. The King and Queen are seen coming on shore again from the S.S. Medina, to which they returned at night. An equerry opens Her Majesty's parasol. The King is in mufti and the Queen is wearing a white silk flowered robe, with a white feathered hat. The band of gold satin on the skirt of the Queen's dress is quite distinct in the picture.
15. Ascending the Gangway
Their Majesties enter a motor car. An exceedingly good view is obtained of this incident. The King pauses before entering, in order to make a remark to Major-General Sir Stuart Beatson, and thus the KINEMACOLOR man is afforded an excellent opportunity for recording a scene that will be specially interesting to the King's subjects.
16. The Children's Festival
This took place in the grounds of an exhibition called "Old Bombay," 25,000 children taking part. The native element predominated. Each child was given a flag to wave and all did so energetically, the effect being that of a tossing sea of parti-colored waves. At the same time the National Anthem was sung in four languages.
17. Highland Pipers
Some surprise and interest was caused by the appearance of four pipers of the Cameron Highlanders, marching up and down in kilt and plaid, playing their pipes, to the delight of the children and other spectators.
18. Their Majesties' Carriage
and its escort of the 7th Dragoon Guards and the 26th Cavalry proceeding down the lines of children, who are enthusiastically waving their flags. At one point the carriage passes quite close to the camera.
19. The Elevated Dais,
provided for the accommodation of Their Majesties', below which was a Guard of Honour of Cadets of the Bombay Volunteer Rifles.
20. Two Hundred and Thirty Parsee Girls
then dance a "Gurbi," a rhythmical dance with song, moving in rhythmic evolutions and concentric circles, and chanting in a minor key to the accompaniment of tinkling bracelets and clashing anklets.
No. 495 Code "Cephalops" 1,280 feet
Scenes in Delhi, the New Capital of India
WE now arrive at Delhi and are shown many quaint and interesting scenes of native life. The numerous memorials of the Mutiny of 1857 are included and a magnificent view given of the Jamma Masjid, the most famous mosque in the world.
1. On the Grand Trunk Road, Delhi
Native types. Army transport waggons carrying the baggage of troops. Carrying baskets and water jars on their heads.
2. The Kashmir Gate,
showing bullet and cannon marks. Here Nicholson led the assault at the storming of Delhi, in 1857. The bullet marks on the face of the structure are clearly visible.
3. A Camel Carriage
Carts carrying wood for stands. Byle-garries, or bullock-carts, a barouche, and a native on a bicycle. Tongas for visitors' transport. Three hundred of these curious looking vehicles were brought down from the hills for use at the Delhi Camp.
4. English Church of St. James'
in Delhi. Outside it, on the ground, is a cross on a globe. These were knocked down by cannon shot during the Mutiny of 1857. Duplicates have since been placed on the dome.
5. The Memorial Tower
to the Mutiny Martyrs, erected over the grave of the victims. The John Nicholson Statue.
6. The Jamma Masjid
A magnificent view. This is one of the three famous Moghul mosques of India, the two others being at Futtehpore Sikri (built by Akbar) and at Agra (built by Shah Jehan). The famous Jamma Masjid is one of the few mosques, either in India or elsewhere, that is designed to produce a pleasing effect externally. With the exception of the three great domes and the numerous turrets which are all of white marble, the mosque is of red color. It has been restored recently under Government supervision. Though not the largest mosque in the world, it is certainly one of the most imposing. The proportions are colossal, though artists complain of its lack of balance. Its three great portals are unequalled by any mosque in the world.
7. Natives Praying
in front of the Mosque. A typically Oriental scene. A group of natives all squatting. Orientals never seem to have anything demanding their immediate attention.
8. Natives Oiling the Road
The most elaborate methods were adopted to deal with the "dust problem" in the Durbar Camp. The road surfaces were made of crushed brick, bound together by the application of oil or tar.
9. Queer Native Carts
Women breaking stone. As is well known, in Eastern countries women do a great deal of the most laborious work. A native carpenter at work. He is known in the vernacular as a "Mistre."
10. A Native Stone Worker
drilling a design in stone. The drill is revolved by means of an apparatus not unlike a violin bow.
11. Chandni Chowk,
"The richest street in the world." In little eight feet by six feet shops the visitor is shown rare and priceless diamonds. To understand what native life in India is the tourist must spend an hour or two without any fixed goal in the Chandni Chowk, usually called Silver Street. This is the Mooski of Delhi, though, unlike that famous Cairene highway, the Chandni Chowk is a fairly wide avenue. The picturesqueness is not so much in the buildings, which lack the artistic outlines of those in the Mooski, as in the natives themselves. A striking feature of the street life is the extraordinary variety of color. This living mosaic has at first a bewildering effect on the spectator, but after a while the kaleidoscopic crowd can be resolved into separate units, each unit being an independent blend of orange and magenta, green and violet, or silver and scarlet.
12. Natives Smoking Hookahs
A Persian rug shop in Chandni Chowk. The genuine native shops, as opposed to those which concern themselves chiefly with tourists, are feasts of color, the goods as often as not being spread out on the ground, the proprietor and his assistants squatting among the wares and occasionally calling out their merits. What will impress the artistic visitor is the natural love of picturesque effect, and the correct taste in color possessed by the Hindus. In spite of the extraordinary variety of colors to be seen in the streets, one seldom sees any "color discards."
The whole Delhi Camp was supplied from a Government dairy with buffalo milk. There were 1,000 buffalo cows at the camp. "Ekkas," or native carts, and horses of ruling chiefs being led along the street.
14. An Electric Tram Passes
The bizarre contrasts between the Oriental atmosphere of the city of the Moghuls and the latest development of civilisation afforded by the electric trams cannot fail to strike the traveller.
15. The Durbar Light Railway
All the Press and camera men at the camp had free passes to travel on this railway, but having regard to the crowded condition of the coaches it is not surprising that the passes were never used by any of them.
No. 496 Code "Cephalus" 1,095 feet
Arrival of the Ruling Chiefs at Kingsway Station, Delhi
FOR days before the ceremonies, native princes were coming into Delhi from all parts of India. The film shows the arrival of several of the most important chiefs.
1. A Train Draws Up
at a red baize-covered platform. The apparently large size of the coaches of the train is explained by the fact that each has a false roof in order to secure a layer of air between the ceiling of the coach and the roof on which beats the blazing Indian sun. Each tent in camp was double - a tent within a tent - for the same reason.
2. Arrival of the Maharajah of Kashmir
The Begum of Bhopal - the only woman ruler in India - leaves the train. The Maharanee of Chatterpore as she descends is covered by her waiting women with a scarf, and enters her palanquin or sedan chair.
3. The Nizam of Hyderabad
arrives in his special train. He is the principal ruling chief of India and has with him an escort of about three hundred retainers, including a military band. The number of retainers in attendance on any Chief or Prince varies according to his importance.
4. The Nizam's Retainers
- a fine body - and the band going to the Delhi Camp. Scene at the famous ridge. The Nizam's followers and the escorts of other Princes are marching into camp.
No. 497 Code "Cepheidos" 430 feet
Preparing for the Durbar - the Chiefs' Camps
ON the great plain outside Delhi, eighty square miles in area - two thirds the size of the administrative county of London - preparations for the Coronation Durbar are proceeding apace. Many of the wonderful edifices that made the Durbar Camp more like a scene from the "Arabian Nights" than a twentieth century encampment, are shown in course of construction, and the spectator gets some idea of the immense pains and artistic effort that were expended to make the Durbar of 1911 eclipse all others in magnificence.
1. Carts of all Kinds,
and crowds of natives in bright costumes passing along Princes' Road. Many of the poorer natives walking through the camp seeing the sights.
2. Some Native Veterans
of the frontier wars in Afghanistan, the Punjab Frontier, Burmah and Tirah. A splendid group of old warriors; some of them have medals dating from 1878.
3. Workers in Marble and Stone
A remarkable picture showing a native high up on a ladder, painting one of the grotesque lions at the entrance to the Burmah Camp.
4. Natives Sawing Logs
with saws shaped like scimitars and having a handle at each end. Native gilding a wooden lion. The bright lustre of the gilding is perfectly reproduced on the screen.
5. A Triumphal Archway Being Built
over Coronation Road. Men at work on the bamboo scaffolding. One of the finest Indian pavilions in the camp. A clear and excellent view of the splendid edifice. A handsome structure which was used as a post office. Soldiers going along Coronation Road.
6. Princes' Road, Durbar Camp
The construction of ornamental terraces and flower beds. Natives working differently-colored stones into various designs. Ornamental tigers of striking appearance at the Rewah Camp. Gilding the "guardians" of the ornamental entrance.
7. Carving a Pediment
Ornamental flowerbeds being laid out, some with colored stones and shells and some with plants.
8. The Gateway to Kashmir Camp
- a remarkably beautiful piece of work - all carved out of walnut wood. The camp was enclosed by a wall of similar workmanship, each panel having a different design, as may be observed on the screen. An offer of £70,000 was received from a wealthy American for the whole edifice as it stood, but the proposal was not entertained, and the unique piece of workmanship was ultimately presented to the King-Emperor.
9. Scenes in the Press Camp
Delhi. A group of servants, native policemen, street sweepers, etc. The different classes of workman may be distinguished by the colors of their turbans.
10. Some of the Motor Cars
supplied by the Government for the use of the Press. Amongst the occupants of the cars are many well-known London pressmen and photographers. Some members of the staff of KINEMACOLOR are also in evidence.
11. C.B. Bayley, Esq.,
the able and courteous officer in charge of the Press Camp. Incidentally, Mr. Charles Urban is introduced on the scene.
12. A Delhi Problem
A group of pressmen: Mr. Percival Landon, The Daily Telegraph, Mr. E. J. Buck, Reuter's, and Mr. Lovat Fraser, The Times. The names are in correct order reading from left to right on the screen, after Mr. Landon has joined the group. A portrait.
No. 498 Code "Cephenus" 1,100 feet
The Royal Horse Artillery Firing a Salute
AT ceremonials such as the Durbar a great number of Royal salutes are fired, so that no record of the proceedings would be complete that did not include something of these incidents. This film shows artillery operations in a very realistic fashion. The battery is one of three engaged in firing a salute of 101 guns, signalling the arrival of Their Imperial Majesties at Delhi. On each occasion when a Royal Salute was fired, two batteries fired thirty-four shot each and one thirty-three, making a total of 101. The color of the burnished metal of the guns is clearly reproduced by KINEMACOLOR.
1. Artillery Sections Gallop Past
They are taking up their positions preparatory to firing the salute.
2. The Artillerymen Unlimber
and get to work with their guns. This section gives an idea of the heavy work entailed by the firing of the various salutes.
3. After the Firing of Thirty-four Guns
the members of the battery limber up and leave their station.
No. 499 Code "Cepheos" 300 feet
Arrival of Their Imperial Majesties at Selimgarh Station
Received by Lord and Lady Their Excellencies the Governor-General Hardinge. Delhi, December 7th, 1911
THE Selimgarh bastion, at which a special station for the reception of Their Imperial Majesties was built, is a completely detached portion of Delhi Fort, to the North, and was built by Jehanger, father of the more famous builder of the Fort itself. From this point Their Imperial Majesties entered Delhi.
1. Preparations for the Arrival
of Their Majesties. Principal officials in readiness to receive the King and Queen. The most conspicuous figures are the Governor-General and Lady Hardinge, the Commander-in-Chief and Lady Creagh and the Governors of Bombay and Madras. The Governor and Chief Commissioners of various provinces are also in attendance, and Sir John Hewitt, the master and organiser of the Durbar may be noticed.
2. The Walls of the Fort
were manned by Mutiny veterans. A handful were given places of honour at Selimgarh. As the train drew up, the National Anthem was played and a salute of 101 guns was fired.
3. Sir John Hewitt,
Sir Henry MacMahon, the Chief Justice of Bengal, and the Maharana of Udaipur presented to Their Majesties.
4. The King-Emperor
inspects the Guard of Honour of the Berkshire Regiment. His Majesty is wearing the full uniform of a Field-Marshal, with the light blue riband of the Order of the Star of India. The Empress is in a gown of soft white satin with a hand-worked floral design; she has a white hat with shaded blue feathers.
5, The Queen-Empress
is seen walking with Lady Hardinge in the direction of the reception tent.
No. 500 Code "Cepheum" 270 feet
Arrival at the Reception Tent, Delhi Fort
December 7th, 1911
THE reception tent, to which Their Majesties are now proceeding, was erected in place of the Bawalpur Shamiana burnt down a few days before the Durbar. It was constructed of canvas borrowed from the various chiefs, and so was even more strikingly handsome in appearance than the one it replaced.
1. Arrival of the Governor General
The King's Charger being rubbed down previous to taking its share in the State Entry.
2. His Majesty Inspects
the Indian Guard of Honour.
3. Forming Up for the State Entry
The distance to the Elephant Gate is about three-fourths of a mile. The chiefs and their retainers are inside the Fort and they will presently emerge with their retinues.
4. The Troops on the Move
No. 501 Code "Cephisio" 390 feet
N.B. - It is suggested that the foregoing Three Subjects be exhibited as One Subject, as together they form a complete record of one event.
The State Entry into Delhi
December 7th, 1911
FROM break of dawn on December 7th, the pleasant bustle of preparation was heard in Delhi, as regiments of horse and regiments of foot - Briton and Gurkha, Sikh and Pathan - mustered in their thousands and tens of thousands, until from the Delhi Gate of the Fort to the far end of the ridge, where it dipped to meet the Royal camp, stretched in serried ranks a double line of armed men. The great procession emerged from the Elephant Gate (so called because of the great elephants in black marble that are placed on either side of it) and for three hours it was as though a tempestuous flood of color and magnificence was issuing from the Fort. The Elephant Gate on that day was a veritable gate of surprises-each troop as it emerged seemed more magnificent than the last. This Gate is only used by Emperors, Chiefs and other distinguished personages. On ordinary occasions the Lahore Gate is used.
Two KINEMACOLOR cameras were employed in recording this procession, one taking the close views which show in perfect detail the gorgeous equipages of the ruling chiefs, their gold and silver decorated carriages and splendidly uniformed retainers. Perhaps the most abiding memory the visitor to India for the Durbar carried away was that of the cavernous gateway guarded by two colossal black marble elephants. A broad, smooth road lined by men in scarlet curved towards it, and out of it came an endless stream of native rulers and their household troops. There were five miles of them. They reclined grandly in their fantastic carriages, with dark little imps in flaring turbans perched behind to wave away the flies and round them clattered incredible horsemen with chased harness and scimitars. In the carriage of each potentate, in the five blazing miles of them, sat the resident British Commissioner, sombre and odd in his black suit, as a constable who had strayed into the "Arabian Nights."
Synopsis - Part I
1. Procession of High Officials
In the van is a procession of high officials, comprising: A Deputy Inspector-General of Police, Punjab, the Chief Commissioner of the Central Provinces, the Lieut.-Governor of the United Provinees, the Lieut.-Governor of Eastern Bengal and Assam, the Lieut.-Governor of Burma, the Lieut.-Governor of Bengal, and the Lieut.-Governor of the Punjah with their several escorts, and the Governors of Madras and Bombay with their staffs and bodyguards.
2. The Royal Procession
is next seen. The King on a magnificent black charger is riding in the centre of a group of horsemen, among whom Lord Hardinge, the Governor-General, the Marquis of Crewe (Secretary of State for India:) and Sir O'Moore Creagh, Commander-in-Chief of India, are conspicuous figures. The King-Emperor's staff and household includes H.H. Prince George of Battenberg, Brigadier-General R. E. Grimston, Lieut.-General Sir Horace Smith-Dorrien, Sir Henry McMahon, the Lord Annaly, the Lord Stamfordham, His Highness the Maharaja of Bikaner, His Highness the Maharaja of Gwalior, the Commander-in-Chief, H.H. the Duke of Teck, the Marquis of Crewe, H.E. the Governor-General. The Queen-Empress follows in a carriage attended by the Duchess of Devonshire and the Earl of Durham.
3. Carriages Following Contained:
Second Carriage - Her Excellency Lady Hardinge with the Earl of Shaftesbury and A.D.C. in waiting.
Third Carriage - The Countess of Shaftesbury, the Hon. Venetia Baring, Mr. J. H. Du Boulay.
Fourth Carriage - Mr. F. H, Lucas, Sir James Dunlop-Smith, Rear-Admiral Sir Colin Keppel.
Fifth Carriage - Lieut.-Colonel Bird, the Hon. J. Fortescue, Sir R. Havelock Charles, Indian Cavalry Regiment, of the Escort.
No. 502a Code 11 “Cephissi A" 1,270 feet
4. The Procession of Ruling Chiefs
From this point onwards the State Entry was a feast of gorgeous color and magnificence. We see magnificent war horses superbly draped; wonderful state carriages of gold and silver, and palanquins and litters of immense value. Here are Rulers and Chiefs from every quarter of the Indian Empire, including the Maharajahs of Mysore, Kashmir and Jhaipur, and many others; all with their Political Officers and Escorts.
No. 502b Code "Cephissi B" 1,245 feet
5. Famous Figures
In this reel we see the Begum of Bhopal in her lacework Rubandar; and later on the Jam Sahib of Nawanagar, more familiarly known as Prince Ranjitsinjhi, the famous cricketer, in his solid silver carriage with the crocodile bar underneath; Patiala, another cricketer, in a similar carriage; and finally the camels of Bikaner and Bawalpur, and the quaint and barbaric retinue of the Maharajah of Sumpthar; the whole scene epitomising the gorgeous wealth and lavish extravagance of the East.
No. 502c Code "Cephissi C." 1,285 feet
N.B. - The State Entry into Delhi (entire length 3,800 feet comprising the three reels above specified Nos. 502 a, b and c) may be obtained in separate parts under the numbers and codes ind'icated, or as a whole by quoting
No. 502 Code "Cephissi" Total (3 reels) 3,800 feet
The Royal Procession passing from the Ridge to the King's Camp
Delhi, December 7th, 1911
IN this film the Royal procession and its immediate escort are seen again passing between two covered ways from the top, of which the picture was taken. This temporary structure was erected to shelter Their Imperial Majesties while they were presented with an address by the Municipality of Delhi. A pretty effect is observed as the coretege issues from beneath a bower of trees at this point, and incidentally a, splendid panorama of the nearest sections of the Camp is obtained.
No. 503 Code "Cephren" 225 feet
King Edward Memorial Ceremony
Delhi, December 8th, 1911
ONE of His Majesty's first acts on arrival at Delhi was to place in position the tablet upon a memorial in course of construction there to His late Majesty King Edward VII. The form of the memorial is that of a bronze equestrian statue of heroic size, and it is situated on the Maidan, near the Delhi gate of the Fort. The pedestal and platforms are of red Agra sandstone, and the designer of the memorial is Sir Thomas Brock, the designer of the Queen Victoria Memorial opposite Buckingham Palace, London. The fund for the undertaking was inaugurated by the Earl of Minto, and contributions were received from both rich and poor throughout India.
1. Building the Foundation of the Memorial
The workmen are here seen at work on the red sandstone base. The marble tablet being conveyed to the site by bullock teams.
2. The Arrival of Their Majesties
The King and Queen drove to the ceremony in an open carriage, attended by their English and Indian suites. They were received by the Governor-General, who presented the members of the Executive Committee of the Memorial.
3. The Procession to the Shamiana
at the base of the Memorial. His Imperial Majesty ascending the steps at the Memorial base, accompanied by Lord Hardinge.
4. The King Places the Tablet
in position. At the conclusion of the simple but effective ritual the massed bands present played the National Anthem and a salute of 101 guns was fired from the Fort. Panorama of the scene after the ceremony, showing the departure of Their Majesties.
5. A View of Delhi Fort
is seen in the background, partially shrouded in the morning mist, which is of frequent occurence in this part of India.
6. The Mallet Used by the King
in placing the tablet in position is held up to the KINEMACOLOR camera. The mallet is of black ivory and is in a satin-lined case. A silver replica of the equestrian statue as it will be when completed, may be noted on the left.
7. As the Royal Party
and the native princes in attendance leave the scene, many examples of gorgeous costumes are to be seen, and decorations and handsome robes are vividly reproduced in every detail and color.
No. 504 Code "Cepicium" 700 feet
Presentation of Colors
December 11th, 1911
ON the day before the Coronation Durbar there was a picturesque scene on the polo ground when the King presented colors to seven British and three Indian regiments. The British regiments receiving colors were the 1st Northumberland Fusiliers, the 1st Durham Light Infantry, the 2nd Royal Highlanders, the 1st Seaforths, the 2nd Gordons, the 1st Highland Light Infantry and the 1st Connaught Light Rangers; the Indian regiments: the 18th Infantry, the 90th Punjabis and the 102nd Grenadiers. During the proceedings three Services were held: one Church of England, one Presbyterian and one Roman Catholic.
1. A View of the Scene
taken from the top of the Royal Pavilion and showing the unfurling of the Royal Standard, signalling the arrival of the King and Queen.
2. His Imperial Majesty Mounted
on his fine charger, "Delhi," the escort being furnished by the 13th Hussars and the 36th Jacob's Horse.
3. The Governor General's Escort
was furnished by the 1st King's Dragoon Guards and the 11th Lancers, and the Guards of Honour on the field consisted of the 4th Battalion Worcestershire Regiment and the 23rd Sikhs Pioneers.
4. Her Imperial Majesty
the Queen descends from her carriage and advances to the Royal Pavilion amid much cheering and the greetings of her subjects.
5. The Dedication Services
6. The Troops Giving Three Cheers
for the King after the ceremony. They wave their helmets aloft on the muzzles of their rifles - a splendid and inspiring scene.
7. His Majesty Leaves the Field
Departure of the Royal party and the troops.
No. 505 Code "Cepillar" 730 feet
The Delhi Polo Tournament
December 7th to 11th, 1911
TAKING part in polo, or watching the games, was one of the principal and most fashionable diversions of those attending the Durbar. Matches were held from November 27th to December ?nth, but the films shows incidents during the finals between December 7th and 11nth. The victors were the Inniskillings. The following teams took part: the 10th Hussars, the 17th Lancers, the Inniskillings, the King's Dragoon Guards, the 17th Cavalry, the Scouts, the Imperial Cadet Corps, the Governor-General's Staff, the 13th Hussars, the 9th Hodson's Horse and the Golkonda, Kishangarh, Palanpur and Bhopal Regiments. Splendid views are given of some of the matches and several scores are shown. A final section shows the polo ponies being rubbed down after their tremendous exertions.
To secure connected views of a game played over such a large area is by no means easy, but the KINEMACOLOR staff have succeeded admirably and a most attractive sporting subject is the result.
No. 506 Code "Cepina" 260 feet
THE CORONATION DURBAR AT DELHI
December 12th, 1911
NOW is reached the climax of the great series of military spectacles and magnificent ceremonials of which Delhi had been the centre for more than a week. At noon on December 12th, Their Imperial Majesties held the great Proclamation Durbar, at which, amid scenes of unrivalled splendour, the momentous announcement was made that the Capital of India would be henceforth, not Calcutta, but Delhi with its age-long history. The amphitheatre in which the ceremony took place was at least a mile across. It was semi-circular in shape, and was enclosed on the far side by enormous mounds, or tiers of seats, said to be capable of accommodating between 60,000 and 70,000. In the KINEMACOLOR series, thanks to the wonderful clarity of the photography, these crowded stands may be easily distinguished, and they add in no small measure to the impressiveness of the scene. As reproduced by KINEMACOLOR the mound occupied by spectators resembles a Dutch tulip garden, owing to the great variety of colors of the turbans of the natives. Opposite these tiers was a large pavilion, also semi-circular, capable of seating 12,000 spectators. Ten or twenty yards in front was the Shamiana connected by a raised platform with the Royal Pavilion, which was situated in the centre of the Amphitheatre. The whole of the vast space between Was filled with soldiery representing not merely every arm of the service. but every corps in India, whether regular or volunteer. More than 30,000 men were massed in the tremendous arena. The massed bands alone numbered 2,000 performers. So great was the military force assembled that (says an observer) when the officers shouted out the words of command it sounded as though a mob had somehow got into the enclosure and were rending the air with their cries. This force, however, was only a part of the soldiery participating in the day's ceremonials. The entire length of the route (some three miles) between the King-Emperor's camp and the Amphitheatre was lined by troops on both sides. Truly the Coronation Durbar afforded an impressive demonstration of the pomp and power of the British Empire, and one the equal of which has probably never before been witnessed in the history of the world.
Synopsis - Part I
1. Scenes During the Arrival of Troops
Bluejackets from the S.S. Medina, and guests arriving for the Durbar. The bluejackets march by at close quarters. Here we are able to observe the distribution of the troops. They are arranged in regular geometrical figures, a solid mass of men in khaki being fringed by men in red tunics, thus affording an effective contrast. It is easier also, because of this arrangement, to get an idea of the immense number of troops on the field.
2. The Canopy of the Shamiana
This is a magnificent example of color photography showing with a clearness that would be impossible by any other means the gorgeous decoration of the Shamiana. The crimson velvet hangings are fringed with gold, and heavy golden decorations may be seen, in spite of being in the shadow, on the ceiling of the pavilion.
3. Arrival of the Mutiny Veterans
Here is a sight that must make the blood of every patriotic citizen run faster in his veins. A crowd of venerable men, some in uniform and some in everyday clothes, and all wearing medals, advance slowly towards the camera. They are veterans of the Mutiny of 1857. As they come nearer it is seen that whites and Indians are equally intermingled. It is a profoundly thrilling scene, and one that makes a powerful appeal to the imagination. The depth and stereoscopic quality of the picture greatly helps the sense of actuality as this splendid procession slowly passes. The strains of “The Old Brigade” were played meanwhile.
4. The Black Watch-Guard of Honour taking
their position at the Royal Pavilion. A fine picture of troops in movement. The Scottish Regiment, led by a band of pipers, advances towards the camera and another company of Highlanders, preceded by a "wee Scot," ascends a dais in the background. The perfect marching order cannot fail to strike the onlooker.
5. Their Excellencies the Governor~General and Lady Hardinge
leaving King's Camp. Arrival at the Durbar. Lord and Lady Hardinge are seen in their carriage with an escort of one regiment of British Cavalry and one regiment of Indian Cavalry. In following their arrival the camera gives an effective panorama of the scene. Their Excellencies take up their positions on the Shamiana.
6. Their Imperial Majesties Leaving King's Camp
Three Household Cavalry N.C.O.'s lead the way and then the Royal carriage appears and draws up. Their Majesties enter, and as they are driven away a good portrait view is obtained. The gorgeous gold-embroidered State umbrella is in evidence. This is the first view obtained of Their Imperial Majesties wearing their crowns and robes.
7. In Addition to Two Equerries on Horseback,
Their Majesties are attended by an escort composed of the "N" Battery, R.H.A., the 10th Hussars, the Governor-General's bodyguard in scarlet and gold, the Imperial Cadet Corps, resplendent in blue white and gold, and the 18th Indian Lancers (King George's Own).
8. Artillery Firing Salutes
A view is interspersed at this point showing the artillery firing salutes on the departure of Their Majesties. The surroundings are of a sandy nature, against which the puffs of white smoke from the cannon are in effective contrast.
9. The Royal Procession Entering the Amphitheatre
Following the sweep of the camera over the lines of troops, we see in the distance the Royal cortege approaching The Governor-General's Bodyguard lead the way, then come the three representatives of the Household Cavalry and the Royal carriage, drawn by four horses, and following it the Imperial Cadet Corps.
10. The Royal Standard Unfurled
A magnificent picture showing the golden folds of the Royal Standard being flung to the breeze against a background of blue sky flecked with feathery clouds. All the details of the flag are perfectly reproduced and it is easy to see that its texture is of silk.
11. The Royal Carriage
crossing the roadway before drawing up at the Shamiana.
12. Their Imperial Majesties, the King and Queen Entering the Arena
Here we have an opportunity of seeing the King and Queen more clearly. The King is wearing a robe of Imperial ermine and a surcoat of purple, white satin breeches and silk stockings, with the collars of the Orders of the Garter and the Star of India and the Star of the latter Order. The Imperial Crown consists of a band of diamonds, studded with large emeralds and sapphires, with rubies in the centre, and a cap of purple velvet turned up with ermine.
13. The Queen's Dress
The Queen is wearing a white satin dress of gold roses, thistles and shamrocks, with a border of lotus flowers. The Star of India is embroidered on the front of the dress. Her Majesty's robe is of purple velvet trimmed with ermine and a border of gold braid, and she wears the Orders of the Garter and the Crown of India.
14. The Royal Salute
with the color, by the Guard of Honour of the Black Watch and all the troops present.
15. Preparations for the Reception
of Their Majesties. Arrival of the Imperial Procession at the Shamiana. First the Governor-General's Bodyguard, every man of which is over six feet in height. The three representatives at the Household Cavalry, who will guard the approaches to the Imperial thrones. The Foot Guards also are represented by a serjeant of the King's Company, the 1st Battalion of the Grenadiers, who may be seen on the steps of the Royal Pavilion. At exactly twelve o'clock the Imperial carriage reins in at the Shamiana. The Governor-General, with Lady Hardinge, staff and suite, receives Their Majesties at the foot of the crimson-carpeted stairway.
16. The High Officials and Ruling Chiefs
doing homage. This portion of the ceremony, which lasted for over an hour, is presented in considerable detail, although much condensed from considerations of time. First the Governor-General and his Executive Council ascend the steps of the Shamiana, bow to Their Majesties and retreat backwards. Following them is a wonderful sequence of Oriental figures, all magnificent, though some, to Western eyes, perhaps a little incongruous in appearance.
17. The Homage Ceremony
The following details with regard to this ceremony will be of interest. The first to ascend the steps is the Governor-General, who is the only one privileged to kiss the hand of the Sovereign. Then come the seven members of his Executive Council, led by the Commander-in-Chief. Following is the homage by the Ruling Chiefs, including the Maharajahs of Kashmir and Jhaipur; the Maharajah of Udaipur, coming from and returning to his place behind the throne as specially appointed Chief-in-waiting to His Majesty. Each lays his sword before the Imperial throne; Rulers from ever quarter of the Indian Empire, including the Begum of Bhopal and the interesting personalities of Sikkim and Bhutan; Ruling Chiefs from Central India, Beluchistan, the Punjab, Assam and Burmah, and from every distant Province and Centre, all attend in their proper order of precedence.
18. Leaving the Shamiana
Their Imperial Majesties rise from their thrones beneath the Shamiana and pass to the Royal Pavilion; their trains are gathered up by the Royal pages - Indian princes in native costumes - and they advance hand in hand to the Royal Pavilion, golden umbrellas being held over their heads. At this point the massed bands struck up the new Coronation March composed special1y for the Durbar ceremony.
19. Following Their Majesties
are the Governor-General and Lady Hardinge, the Minister-in-Attendance, His Highness the Duke of Teck and members of the Royal suite.
20. The Procession to the Pavilion
Their Majesties pass out from beneath the Shamiana and cross, hand in hand, to the great central Pavilion, about a hundred yards distant. This is a magnificent white marble-like structure with a four-fold dais, on which are the twin thrones, surmounted by a gorgeous canopy on slender gilt pillars. The Imperial Procession ascends the steps of the platforms. On the lowest are the Guards of Honour, facing inwards; natives on the left, the Black Watch on the right, of the Procession. On the second platform the Imperial suite remains behind. On the next, Lord and Lady Hardinge and Lord Crewe; the Duchess of Devonshire and Lord Durham; and other members of the Household, who will remain right and left of the final dais. The fourth platform Their Majesties ascend alone save for the Royal pages, who remain grouped about the steps of the throne.
20. Magnificently Caparisoned Trumpeters,
British and Native, are now summoned by a signal given by the bands; the prevailing color of their uniform is gold. They ride up to the Royal Pavilion, and drawing up in fine style, sound a fanfare in front of the thrones.
21. Reading the Royal Proclamation
This was done by the Delhi Herald, General Peyton, in English, followed by a translation in Urdu by the native Assistant Herald. The first thing to strike the attention in this section is the picture of the beautiful golden canopy of the Pavilion with which it opens.
22. A Single Figure Ascends the Steps
of the Pavilion. He is the Governor-General and is about to read the proclamation of certain boons and concessions now to be granted to the Indian people.
23. The Trumpeters Sound a Flourish,
the massed bands play the National Anthem, and the whole of the troops come to the "present." A salute of 101 guns is immediately commenced.
24. A Tremendously Inspiriting Scene
is next witnessed. The 30,000 troops give three cheers for the King and then three for the Queen. The huzzas are caught up by the 12,000 spectators, re-echoed in the distance by the 60,000 people who throng the mound, and again taken up by the 200,000 natives outside the Amphitheatre. A panorama of the troops at this point. as they wave their helmets in time to their cheers, is most realistic.
25. As the Royal Procession Leaves the Pavilion
the new march is repeated by the bands.
26. Panorama of the Amphitheatre Taken During the Ceremony
This shows admirably the extent of the ground occupied and the massing of the troops. A fine view of the Royal Pavilion is also given.
27. The Trumpeters now Appear
and Their Majesties are seen leaving, over them being waved the white, flowing chowries and the club-like morchals or conventionalised peacock feather fans symbolic of Imperial rule. These give an impressive Oriental touch to the scene.
28. Firing the Salute of 101 Guns
During all this time the salute of guns is proceeding and here we see native Artillery-men working with mechanical precision. The interval between each gun is ten seconds.
29. The Departure of the Royal Party
The troops leaving the Amphitheatre.
30. A Wonderful Scene
is the departure of the Indian Princes. A group of them descends some steps near one of the KINEMACOLOR cameras and the gorgeous colors of their magnificent robes are shown with marvellous realism. The sheen of the silk, the splendour of cloth of gold, and of decorations and orders of all kinds is reproduced exactly as in life, forming one of the most perfect examples of color-photography extant.
No. 507 Code "Cepinho" 3,240 feet
Supplied only in its entirety (Three Reels)
The State Garden Party at Delhi Fort
December 13th, 1911
To the architectural and natural beauties of the Diwan-i-Khas at Delhi Fort were added, on the afternoon of December 13th, the beauty of fair ladies and gay dresses and the brightness of uniforms and Oriental costumes. The occasion was the State Garden Party given by Their Imperial Majesties. Invitations had been issued on a liberal scale, and before three o'clock several hundred guests had emerged from the long string of motor-cars and carriages which were blocking all roads to the Fort. The sun was still high when Their Imperial Majesties arrived, the King-Emperor wearing a grey frock coat, and the Queen-Empress a dress of pale heliotrope-colored brocade with a hat trimmed with white ostrich feathers. They were received with salutes from the Guards of Honour drawn from the 1st Battalion Highland Light Infantry and the 25th Punjabis.
Outside was held the Badshahi Mela, or people's fete, and it was arranged that during the Garden Party Their Majesties would show themselves, according to ancient custom, on the walls of the Fort, clothed in their Robes of State, before many thousands of their Indian subjects. About half-past four o'clock Their Majesties stepped out on the historic parokha, the small balcony where the ancient Moghuls received the acclamation of Delhi citizens. As they appeared alone, two brilliant figures thrown into prominence by the whiteness of the surrounding walls, a great shout arose from the multitude assembled outside the Fort. At the same moment a huge procession was started and the people passed by in dense formation, Their Majesties remaining in their position and watching the wonderful scene for about an hour. Although photographed between four o'clock and five-thirty p.m. the proceedings at the Garden Party are perfectly reproduced by KINEMACOLOR. The beautiful surroundings of the Fort and the splendid buildings there are shown in detail. Various scenes at the Garden Party are included and finally Their Imperial Majesties are seen leaving the Diwan-i-Khas and taking their seats at the parokha.
No. 509 Code "Cepitidis" 295 feet
The Royal Review of 50,000 Troops
Delhi, December 14th
THERE has probably never been, in the history of the British Empire, a more impressive and comprehensive demonstration of the strength of the military forces of the Crown than that which took place at Delhi on December 14th. Fifty thousand troops - British and Indian, horse and foot, artillery and mountain batteries - passed in review order before Their Imperial Majesties, and at the conclusion there was a cavalry charge, forming a magnificent finale to a wonderful military spectacle. The immense variety of uniforms as shown by KINEMACOLOR is very striking, and owing to the fact that a special stand was placed at the disposal of the KINEMACOLOR camera-men the picture has been taken from a point above the heads of the soldiers, so that the nearest men do not hide from view the long lines of troops marching in company formation. A far better idea is thus obtained of the immense number of men taking part In the Review. At times the plain, so far as the eye can reach appears to be a mass of moving heads. Each regiment taking part in the Review is represented in the film. With the assistance of a good orchestra, and, if possible, of a drum and fife band when the infantry is passing, the utmost enthusiasm may be evoked when this film is presented.
Synopsis - Part I
1. Bluejackets from S.S. "Medina"
marching to take up their position for the Review.
2. The Royal Standard
floating in the breze. This beautiful silken emblem is forty feet in length.
3. Arrival of His Imperial Majesty
on his magnificent black charger. In the distance are the troops lined up for inspection prior to the Review.
4. Arrival of Her Imperial Majesty
in her carriage. As Their Majesties reached the review ground, a salute of 101 guns was fired by the 9th and 10th Brigades, Royal Horse Artillery.
5. The Commencement of the Review
The Royal horse Artillery leads the way, advancing by brigades in line of batteries at close intervals. A view taken along the lines shows admirably the splendid marching of the troops. In spite of the great length of the line a perfectly regular front is presented.
No. 510a Code "Cepolidae" 915 feet
6. Indian Troops
are mainly to be seen in this part of the film. It may be noted that the turbans of the soldiers in Indian regiments are all different, a distinction well brought out by KINEMACOLOR.
7. Indian Civil Service Volunteers
A fine body of men in khaki consisting of members of the Indian Civil Service. They are followed at a short interval by a troop of Ghourkas.
8. His Imperial Majesty
is seen at the saluting base, just as the Camel Corps go by.
9, In Front of a Body of Indian Troops
next passing, may be observed a little seven-year-old boy, the Nawab of Bawalpur, riding on a camel; he is one of the youngest Prince in India.
No. 510b "Review" 2,030 feet
10. The Artillery Charge
This thrilling portion of the film shows the Royal Horse Artillery and cavalry passing the saluting base at a gallop. As the KINEMACOLOR camera-men were stationed a few yards beyond His Majesty they have been able to reproduce the charge at a moment when the troops were at their highest speed.
11. The End of the Review
His Majesty is seen leaving the field with his retinue and Her Majesty joins the procession in her carriage, her escort consisting of the Imperial Cadet Corps.
12. A Color Opportunity
When the Standard is being lowered and furled a remarkable example of color photography is obtained. The wind catches and extends it so that its beautiful silken texture is displayed to the KINEMACOLOR camera at close quarters. Every detail of the design is perfectly reproduced in actual colors.
No. 510c Code "Reviewed" 1,040 feet
When ordering the separate Reels of this Subject the above Code-Words apply, but when the complete Review is required the following should be quoted.
No. 510 Code "Wholeview" 2,985 feet
Point to Point Races
Delhi, December, 13th, 1911
AN Anglo-Indian sporting event is portrayed in this picturesque and well-taken subject, which is evidence of the far-famed keenness of the white population of India in sporting matters. From a color point of view, special mention must be made of the perfect reproduction by KINEMACOLOR of the brightly colored and glossy satin coats of the riders. The brightness and interest of horse-racing, especially under such excellent weather conditions as prevailed on this particular day are brought out most vividly on the screen.
1. Weighing In
The beautifully groomed horses are here seen undergoing the usual preliminaries of the contest. The glint of the sunlight on their glossy coats is most effective, and the light blue, orange, crimson, yellow and other hues of the jockeys' satin jackets are reproduced to the exact shade of the original.
2. The Races
A fine picture taken as the horses come over the hurdles. Here one indeed enjoys the pleasurable excitement of the real thing.
the winner of the Queen-Empress Cup. A good picture of little Miss Nethersole, daughter of the owner, holding the bridle of the winning animal. A splendid piece of natural color portraiture.
No. 511 Code "Cepotafio" 230 feet
State Departure of Their Imperial Majesties
Delhi, December 16th, 1911
SPECIAL interest attaches to this subject from a kinematographic standpoint because of the fact that at the suggestion of Mr. Charles Urban, who considered that such an opportunity for a historic picture could not be neglected, the route of the Royal procession to the station upon the day of Their Imperial Majesties' departure was altered in order that it might pass the famous Ridge, round which linger many precious memories. Incidentally, by taking this route a compliment was paid to the Press, whose camp adjoining the spot and may be seen in the film. The scene at the station is not by any means the least effective in which Their Majesties took part during their sojourn in the Indian capital, and a feature of the picture is the number of close views that are afforded of the Royal pair.
1. The Royal Procession Passing the Press Camp
at the base of the Ridge. The procession consisted of the following:- The Inspector-General of Police, Punjab, a cavalry escort, a battery of the Royal Horse Artillery, the Escort Staff, Army Headquarter's Staff, the Commander-in-Chief, Indian trumpeters, British trumpeters, the King-Emperor's Staff, the bodyguard, Their Imperial Majesties, the Imperial Cadet Corps, Members of the Household (in carriages) and an lndian Cavalry escort. As the procession approached the Ridge various portions of the escort filed off and formed up by the route, leaving only the heralds and trumpeters, the bodyguard and the Imperial Cadet Corps to enter the Selimgarh Bastion with the Royal carriage.
2. The Panorama of the Camp,
given at this point, shows very effectively the extent of this portion of the Durbar Camp. If is a wonderfully stereoscopic and beautiful picture of what is probably the most extensive "tented city" known, at any rate since the human race gave up residence under canvas as a general practice.
3. The Reception at the Station
The departure of Their Imperial Majesties, like their arrival, took place at the Selimgarh Bastion of Delhi Fort, where a special station had been erected for their convenience.
4. The First Royal Train draws up at the platform
The King-Emperor is to go to Nepal, and the Queen-Empress to Agra.
5. The Procession Coming from the Fort
This is a very effective scene: As the Royal Carriage comes into view a portion of the mounted escort, taking a different course, breaks into a canter and is partially enveloped in a cloud of dust. The perfectly natural reproduction of such every-day sights as a cloud of dust is one of the charms of KINEMACOLOR.
6. Their Majesties Exchanging Farewells
with Lord and Lady Hardinge, with the heads of local governments and administrations, and with other officials and members of the Durbar Committee.
7. Close Views of Their Majesties
are obtained as they ascend the steps by which the platform is reached. One or two last farewells are exchanged after this and His Imperial Majesty enters his train, which draws away, and the other train approaches for the reception of the Queen-Empress. After she has entered it, it proceeds in the opposite direction.
8. The Crowds leaving the Station
This fashionable concourse affords the KINEMACOLOR cameras plenty of scope for good color effects, and we notice some charming costumes worn by fair passers-by. Court attire and resplendent uniforms are also much in evidence.
No. 512 Code "Ceppaia" 810 feet
The King's Camp and the Chiefs' Receptions
THIS film is remarkably full of human interest and scenes of rare and unexampled beauty. It affords also an excellent idea of the great expense to which the Indian potentates went in their loyal endeavours, which were certainly highly successful, to celebrate in a befitting manner so unusual an event as a visit to India of a King-Emperor and his Consort. It is not often that such diversity is crowded into one film as is to be found in this one.
1. The Ceremony of Changing the Guard
The State trumpeters passing on their way to take up magnificent cloth of gold of their uniform is well shown. their positions. The
2. An Historic Military Event
The change of guard which is now taking place marks the first occasion since the Mutiny on which an Indian guard has been relieved by a guard direct from England. The regiments concerned are the 2nd Battalion the Royal Fusiliers and the 4th Battalion King's Royal Rifles (the 60th).
3. The March Past of the Band
Non-commissioned officers with the colors march past. A party of Highlanders.
4. Tommies Off Duty A picture that will thrill some individual in many an audience as he or she - especially she - recognises in one of these faces shown with such life-like realism on the screen, some familiar friend, relative or lover. It is a perfectly characteristic group of the flower of the British Army. Their smiling, happy faces will spread an infection of cheerfulness in every audience.
5. A Group of Indian Soldiers
The change from the fair, fresh complexions of the British-born soldier to the swarthy skin of his Indian comrade - with whom, as this picture makes manifest, "Tommy Atkins" is on the best of terms - is striking indeed, but KINEMACOLOR is in no-wise disconcerted by the sudden transition. These deeper hues are equally well recorded, and so are the slight differences of complexion between one Indian and another. A harder test of color photography, or one more triumphantly met, could scarcely be conceived.
6. The Receptions in the Chiefs' Camps
The Governor-General's coach draws up at the handsome pavilion of the Maharajah of Charkari. This is an exceedingly gorgeous edifice with a splendid portico. The film also shows the visitors leaving and the curious sight may be observed of gentlemen in uniform or Court dress wearing garlands of flowers placed round their unaccustomed chests as a mark of special honour by the hospitable Indian Chiefs.
7. A Reception in Another Camp
Troops carriages which are masses of gilding, and men in splendid uniforms pass before the onlooker in almost bewildering confusion. Such magnificence seems inconceivable in the matter-of-fact twentieth century. Through each of these scenes a delightful soft light prevails, adding very greatly to the indescribable beauty of the picture.
8. A Portrait Group
of members of the Imperial Cadet Corps. In this group are twenty-eight of the best-known Princes of India. It may be imagined how much care had to be devoted to choosing the sitters and settling questions of precedence. The boy in the centre is a Prince who is only five years of age, the Maharajah of Rewah.
9. The Begum of Bhopal,
who was such a popular figure at Delhi during Durbar week, is to be seen in her carriage, and following is an Indian potentate in a resplendent gold coach, which passes close to the camera, giving an opportunity for the reproduction of all the details of the delicate chasing. The lustre of the metal is well shown.
10. An Indian in a Red Velvet Coat
is a striking figure at this moment, and other natives shown immediately afterwards are wearing coats of black velvet, adorned with gold braiding, while others still are in cloth of gold.
11. The Hon. Sir J. P. Hewitt, K.C.S.I.,
the President of the Durbar Committee, to whom is mainly due the fact that all the immense and elaborate arrangements for the ceremonies went through without a hitch of any sort. An excellent portrait of this popular figure.
No 513 Code "Cepphic" 1,000 feet
Preparations for the Calcutta Pageant
MANY magnificent examples of color photography are included in this film, which shows elephants and other animals being prepared for the Calcutta Pageant. One of the most striking scenes is the painting of the forehead and trunk of one of the elephants, and another is a kind of rehearsal of the elephant procession after the huge participants are in readiness. Many other curious scenes of Indian life are also contained in the film, which is fun of the most gorgeous Eastern coloring.
1. An Elephant Cart
An immense vehicle drawn by two elephants. A number of elephants being adorned for the pageant are to be seen in this section. A splendidly caparisoned horse. Oxen in superb trappings.
2. Natives Painting the Trunks of Elephants
One is engaged in dabbing spots of red paint on the forehead of a magnificent beast which already has ornate designs down its trunk.
3. A Procession of Elephants
The beautiful trappings, consisting of cloth of gold and similar handsome materials, are perfectly shown by KINEMACOLOR and form a very fine piece of color work.
4. Natives in Gay Costumes
pass the camera. In the background a number of elephants in readiness for the pageant procession may be observed.
5. A Camel Being Harnessed
Oxen wearing magnificent trappings are also to be seen. Natives are seated on the ground preparing decorations for the different animals.
6. An Oxen-drawn Cart
of gorgeous appearance. Men carrying a howdah which is to be placed on the back of an elephant.
7. Members of a Native Band
in brilliant red and green uniforms. A drum adorned with waving plumes.
8. More Examples of Decorated Elephants
Men putting gilt howdahs on their backs. Elephants in line; a beautiful spectacle.
9. A Procession of Natives and Elephants
The somewhat sober hues of the men's attire make an effective contrast against the splendour of the elephants' trappings.
10. The Oxen-drawn Cart
This is now seen as it will be in the actual procession. It is decorated with rich crimson velvet and gilding.
11. Men Bearing Palanquins
More elephants in procession. Many of them are adorned with hangings of lovely shimmering silver cloth.
12. A Band of Natives
in uniforms of orange and red. They are carrying banners of silk that glisten most effectively in the sunlight.
No. 515 Code "Cepulam" 1,035 feet
Arrival and Reception of Their Imperial Majesties at Princep's Ghat Calcutta
December 30th, 1911
THE last stage of Their Imperial Majesties' journey through their Indian Empire is now reached, and some of the concluding scenes, it may safely be said, eclipse in magnificence, if that were possible, what has gone before. This film depicts the brief ceremony that took place at Princep's Ghat on the arrival of Their Majesties in Calcutta.
1. Their Imperial Majesties' launch
approaching. A magnificent panorama.
2. The Reception of the King and Queen
The Royal Party is seen advancing between a double line of bluejackets drawn up for inspection.
3. The Decorated Courtyard
through which the procession is advancing.
4. Another View of the Procession
Excellent close views of the King and Queen are afforded in this section as Their Imperial Majesties advance towards the camera.
5. Their Majesties on the Dais
receiving the homage of the Native Chiefs.
No. 516 Code "Cepurici" 340 feet
The Pageant Procession
CEREMONIAL in India in which elephants do not take part seems lacking in something essential. Those who had seen previous Durbars never tired of telling the less experienced that they had no idea of what Indian pageantry could be until they had been present at an elephant procession. The Pageant arranged at Calcutta in honour of Their Imperial Majesties certainly justified the statement. So imposing and even overwhelming a spectacle could not be conceived by anyone who had not seen it, and, thanks to KINEMACOLOR, those who have no opportunity for Eastern travel may see it also, in all the gorgeous colors of reality. Nothing like it has ever been achieved before even by KINEMACOLOR. Such colors were in evidence at this Pageant as are never found at ordinary ceremonial in any country, and KINEMACOLOR faithfully reproduces them all-rich purples and plum-colors, dark reds and browns, gold and silver lustres, light blues and orange-in fact pretty well all the colors of the spectrum are to be seen in the pictures of this procession. Mention must also be made of the unusual procedure and appearance of the Pageant. In addition to the elephants which give it its special character, the Hindus taking part were attired in very distinctive garb and many of them wore costumes quite strikingly beautiful. A pageant master of unequalled skill must have been responsible for the organisation of this event.
1. Arrival of Their Imperial Majesties
in their carriage. They take their seats on golden thrones and in due course the pageant begins.
2. The Procession Opens
with a long line of natives in white costumes with trousers of orange hue.
3. A Long Distance View of the Procession
is given next and this is certainly very striking, conveying as it does a definite stereoscopic effect and sense of distance.
4. Magnificently Caparisoned Horses
without riders have a dignity quite their own, as is apparent in this section.
5. An Oxen-drawn Coach
of splendid aspect. The vehicle has a canopy covered with red velvet and gold embroidery.
6. Natives Carrying Palanquins
next pass, and they add their own characteristic Oriental touch to the scene.
7. The Elephant Procession
These huge creatures now appear, each one seeming more resplendent than the last, in magnificent trappings of every imaginable hue. On several is a splendid cloth which shimmers in the sunlight; one is adorned with a fine dark-red cloth, with embroideries; others are covered with crimson velvet. Every detail is perfectly reproduced by KINEMACOLOR. Many-have on their backs gilded howdahs, some occupied and some empty. The cumulative effect of this part of the procession upon the senses is almost overwhelming; at times the whole screen seems to be filled with a riot of gorgeous color such as has never been seen before even on a KINEMACOLOR screen.
8. Banner Bearers
A number of natives now pass carrying banners of silver tissue which in the sunshine glint like white satin.
9. Another Elephant Procession
follows and this section contains animals whose grey hides are accurately shown on the screen. At this point it seems as though the intention was to secure that each elephant passing should be larger than the one preceding it, and a very impressive effect is obtained.
10. Horsemen in Chain Armour
form the next and quite unexpected feature of the pageant; they give a touch of medieval dignity that is very attractive. It should be noted, too, how well the exact color of chain mail is presented.
11. A Number of Camels
now pass to give further variety. Near them are men on foot carrying gold-tipped rods - a graceful party.
12. War Dance of the Orissa Paiks
The Paiks are the relics of the ancient yeomanry of Orissa. As a military force they have ceased to exist, but they are used now-a-days in the Orissa States to guard the Palace and the Treasury. Their principal arms are the broad straight sword and the small round or square shield peculiar to Orissa, which they use with great effect in the exceedingly vigorous and sprightly dance here shown. Their costumes are of brilliant hues, and their dance seems to take the form of duelling with one another.
13. Return of the Procession
This gives another opportunity for picking out the more remarkable items in this extraordinary procession. A lively touch is provided by some camels which get out of hand and give their drivers a few anxious moments.
14. Elephant Carts
A close view concludes of huge vehicles drawn by elephants and looking large enough to contain a fair-sized house. One of the carts is conveying some scores of people.
No. 518 Code "Cepuricum" 1,270 feet
Their Imperial Majesties' Departure from Calcutta
January 8th, 1912
AN exceedingly well taken picture is this one, showing Their Majesties' departure from Calcutta. The camera-man has made the most of his opportunities in the picturesque background afforded by the estuary of the Hoogly.
1. Their Majesties Embarking
The Royal party crosses a bridge beyond which is a gilded canopy, and beyond that again a distant and beautiful stretch of country. The Royal Standard may be observed floating over the yacht.
2. Boarding the "Howrah"
The steamer has the Royal coat-of-arms on the paddle-box and green hangings over the bulwarks.
3. The Boat Swings Clear
This is a very pretty scene and full of color contrast in the natural blue of the water, the grey-greens of the distant landscape, and the crimson carpet of the landing stage.
4. Waving Farewells from the Landing Stage
The ferry steamer is now some hundreds of yards away and we are getting a view of the scene at the landing stage, on which are a number of light blue banners. A crowd of distinguished people are waving their farewells. The ferry steamer proceeds up river to connect with the railway from Calcutta to Bombay.
No. 520 Code "Ceracecus" 325 feet
Press Notices Relating to the Series “With Our King and Queen Through India”
Thanks to the remarkable invention of KINEMACOLOR, the millions of Americans who could not attend the Durbar have had it brought to them in all its spirited action and glowing color effects. New Yorkers are crowing the New York theatre to see the Durbar in KINEMACOLOR. It is a wonderful thing to be able to step from the rush and whirl of American life and be transported as if by the touch of Aladdin’s lamp, to the marvellously different environment of India during the Durbar. In a perfect riot of color, as could be seen nowhere else but ‘on India’s coral strand,’ the KINEMACOLOR invention presents a succession of gorgeous pageants.” Buffalo News
"After KINEMACOLOR there scarcely seems to be much more left for development in moving pictures. We have had, of course, color photography before this, but the films were abominably crude - an offence instead of a delight to the eye. It was not merely as in the pictures, sketches and impressions that one has seen a suggestion of the glories of the Durbar, but the real thing itself, a mass of glowing shifting color that left one gasping for breath. As film after film unrolls one knows why the special correspondents' vocabulary gave out early in the tour, and most of them were forced to take refuge to conventional rhetoric." Northern Whig
“No words could do justice to the glorious harmonies of color that distinguish the KINEMACOLOR series. Those who have not yet seen the pictures now on view at the Opera House can have no conception of their truth and splendour. Even amongst those who actually witnessed the great Indian Durbar there could have been few who saw it so completely or at such an advantage as is portrayed by means of this superb series of KINEMACOLOR pictures. None of the details are lacking, and no one can fail to be impressed by the pomp and magnificence of the ceremony and the incidents associated with it." Belfast Newsletter
"If anyone bad suggested two years ago that New York would pay to see motion pictures on Broadway the prediction would have raised a laugh. Yet this prediction has come true and now all New York is flocking to a leading playhouse to see the Durbar pictures, and is cheerfully paying the Broadway scale of prices to do so." Buffalo Express
"The KINEMACOLOR pictures of the Durbar are the last word in beauty and realism. For two hours they spread before the eyes a gorgeous panorama covering all the principal events of the Durbar. Not only do the scenes move but they are reproduced in all the glowing beauties of natural colors." New York American
"There is no need to seek the fabled East in the distant Orient. It may be found in Broadway at the New York Theatre where KINEMACOLOR is showing all the glorious color and movement of life in India in a series of pictures of the Durbar. They were not merely moving pictures - they pulsated with life, color and emotion." New York Telegraph
“These films without the least doubt whatever touch the high water-mark of KINEMACOLOR. Their coloring, their variety and their intense artistic as well as historical interest will surely never be surpassed. They are certainly the most extraordinary moving pictures ever seen”. The Tatler, London
“Mere pen-description can give nothing like an adequate idea of the wondrous colored representations of the Coronation Durbar.” Referee, London
“To those whom India is but a name, the KINEMACOLOR pictures of the visit of the King and Quwwn offer a wonderful vision of the splendour of our Empire of the East.” Observer, London
"When the first kinematograph films of the Durbar reached this country, it was obvious that the absence of color detracted greatly from the impressiveness of the spectacle, The KINEMACOLOR pictures, which depict every incident in its natural colors, remove that drawback, We could not all go to the Durbar, but we can do the next best thing and obtain a remarkable idea of its brilliance by visiting the Scala Theatre.” Times, London
"The Durbar KINEMACOLOR pictures have already ‘caught om' at the Scala to such an extent that several recent houses could have been sold out twice over, This is hardly a matter for wonderment, seeing that the pictures are the most amazing development of the art and science of kinematography that has yet been witnessed. Mr. Urban has every reason to be proud of his astonishing achievement," Standard, London
"The KINEMACOLOR pictures of the Coronation were amazing, but those of the Royal Indian tour are stupendous. Nothing so soul-stirring, so varied or so beautiful has ever been seen anywhere outside the actual places they depict, A picture that touched the audience with pride and patriotic fervour was that of the Indian Mutiny Veterans, but when the great Durbar itself was over there came the picture of the evening - one which shows the might of the Empire more than the majesty of all the ceremonies - the Review of 50,000 troops of all arms.” Evening News, London
“The KINEMACOLOR pictures of the Durbar surpass in completeness, in splendour, and in beauty, anything that has before been seen." Star, London
"Nothing like it has been seen before, and London will flock in its thousands to see a magnificent historic spectacle as if enacted before its very eyes." Sunday Times, London
"Mr. Charles Urban has been showing us in color at the Scala what the Durbar was really like, the Indian Government having wisely given him full facilities for doing so. It is safe to say that India has never been seen in London before as Mr. Urban shows it; even those who were at Delhi could not have seen so much of it as Mr. Urban unfolds before our eyes." Graphic, London
"Mr. Charles Urban promised something that would be a surprise in the way of pictures, and he has kept his promise. The KINEMACOLOR representations of the Royal visit to India, and the Coronation Durbar, are wonderful beyond belief. It is not surprising to find that the Scala Theatre is being filled at each performance." British Australasian, London
"With the aid of KINEMACOLOR, the spectator is able, weeks after the event, to have the whole scene re-enacted in his presence, to obtain in a couple of hours as vivid an impression of the Royal visit to India as if he had made the long journey thither." Scotsman
"Mr. Charles Urban's work in India is indeed a panorama of extraordinary beauty, and should prove invaluable to the historian.” Evening Times, London
"The whole performance is an education as well as a gratification, and Mr. Urban is to be heartily congratulated on the success of his labours." Financial News, London
“Scene after scene of vivid coloring and varied splendour such as have never before been witnessed in London or elsewhere." The Queen, London
"It is quite safe to say nothing so stirring, so varied, so beautiful, so stupendous as these moving pictures, all in their natural colors, has ever been seen before." Morning Post, London
"The animated pictures so far shown have conveyed an entirely inadequate idea of the gorgeous pageantry in India, Now one can see all the actual scenes and incidents, reproduced in living colors by KINEMACOLOR." Globe, London
"KINEMACOLOR offers a wonderful vision of the splendours of our Empire in the East." Daily Mail, London
“Mr. Urban and his staff may be unreservedly congratulated on the triumph of their efforts." Telegraph, London
"To Mr. Charles Urban and the KINEMACOLOR process belong the honour of giving London a magnificent representation of the wonders of the Durbar." Daily News, London
“KINEMACOLOR achieved its greatest triumph at the Scala." Daily Express, London
"Lights, colors, movement … a marvellously fine spectacle." Lady's Pictorial, London
"Mr. Charles Urban has once and for all demonstrated the immense superiority of his wonderfnl natural color photography as against the artificial efforts of the more formal black-and-white representations." News of the World, London
“We can remember nothing finer. To all our readers we would say, stand not upon the order of your going, but go and see the Durbar pictures." Court Journal, London
“The brilliant Oriental coloring is reproduced with absolute fidelity. The whole display is an Imperial object lesson, which it would be impossible to present by ordinary pictorial methods, and far more vivid than could be realised from the usual uncolored bioscope pictures." Lloyd's, London
"Nothing could well exceed the surpassing beauty of these scenes, and for a long time to come the Scala Theatre will be crowded with delighted audiences." Weekly Times & Echo, London
"That the fame of KINEMACOLOR had preceded it was proved by the fact that its first exhibition in Dundee was welcomed last night by a crowded and enthusiastic house, and it is not often that a new form of entertainment comes up so fully to its advance reputation. KINEMACOLOR IS, as everyone knows, the latest development of moving pictures, and by its means we get thrown on the screen not only the action and movement of the subject. But the very colors of Nature herself. No hue is too strong, no tint too delicate for KINEMACOLOR faithfully to reproduce. The vivid scarlet of the British Army, the gorgeous blue of the Eastern sky, were as perfect in their tone as the most delicate of the tints in some of the costumes." Dundee Evening Telegraph
“Last night Her Majesty's Theatre underwent a welcome invasion from an eager and expectant crowd, which took up occupancy in almost equal proportion in every part of the house. It is not perhaps easy to decide how much of the interest aroused may be evidence of the prevailing taste for pictures; how much a tribute to the reputation of Mr. Charles Urban's truly marvellous KINEMACOLOR, Certainly it would be well-nigh impossible to speak in praise of this wonderful series of Durbar pictures in terms which would be extravagant or exaggerated. For anything quite analogous to some of the spectacles which marked Their Imperial Majesties' Coronation celebrations and regal progress through their Indian Empire one must revert to the opulent pages of the Arabian Nights' entertainments or to the Biblical description - so lavish in detail - of the Queen of Sheba's visit to King Solomon. KINEMACOLOR is indeed the royal road to the teaching of history, if, indeed, teaching be not too harsh a word. Take a boy to the KINEMACOLOR and he will betake himself betimes to Clive and Warren Hastings." Dundee Advertiser
“No better vehicle for the display of the powers of KINEMACOLOR could be imagined than the series of scenes illustrative of the recent State visit of Their Majesties the King and Queen to India, for the massing of troops, European and Indian, the assembling at Eastern potentates with their retinues, and the crowds in all the grandeur of native costumes offered an unequalled opportunity for a 'riot of color.' The pictures shown were wonderful in their clearness and steadiness, but more wonderful still for the perfect harmonies of color, often bold, but never discordant, which they showed." Dundee Courier
“Great as has been the advance made in recent years of the photographic art, the KINEMACOLOR pictures now being displayed for a season at the Grand Opera House are the last word in animated and life-like representations, and they surpass in beauty and naturalness anything previously shown in Belfast. We witnessed all the pomp and glitter of the Delhi Durbar; magnificent, and almost awe-inspiring in its scope, and characterised by that animation and vividness which only the East can produce. What a real insight into the power and majesty of the British Empire it afforded! The film ought to be seen by every child brought up under the serene protection and safety of the Union Jack." Belfast Evening Telegraph