While reading and researching Irish history I sometimes consider how the events might look on film or video, dramatized to enhance narrative and commercial appeal. Three examples come to mind: “Michael Collins,” 1996, and “The Wind That Shakes the Barley,” 2006, both against the backdrop of the Irish War of Independence; and “Black ’47,” 2018, set during the Great Famine. This is the first of an occasional series on episodes of Irish history that I believe provide abundant cinematic opportunities. Ideas and comments are welcome. Enjoy. MH

***

In spring 1913, Madeleine Mignon-Alba and Marguerite Mespoulet traveled to Ireland to create what are widely believed to be the first color photographs of the country. Their effort was part of a larger project called “Archives of the Planet,” which sought to create a visual record of the globe, an effort that preceded Google Maps by a century.

The two French women, both in their mid-30s, were “experienced travelers and confirmed intellectuals,”¹ Karine Bigand writes in the academic article linked in the note. Both had participated in earlier intercultural exchange projects conceived and financed by Albert Kahn, the French philanthropist who bankrolled the women’s Ireland trip. Bigand continues:

At first glance, these photographs are very much a reflection of the “romantic” representation of eternal rural Ireland … [but] the intention of the two photographers’ mission was not to produce a simple holiday album or a tourist report. It was not a pleasure trip but a mission, both ideological and scientific … The gaze on Ireland [was] not always as candid as it seems.

Imagine scenes of these women traveling across early 20th century Ireland, the first stirrings of revolution in the air, a year before the explosion of the Great War. The film would focus on their efforts to obtain images of the verdant landscapes, Galway markets, remote villages, and abandoned antiquities such as Clonmacnoise and Glendalough. It would dramatize their challenges with variable light, changeable weather, and rough terrain.

Their encounters with rural peasants still living in 19th century conditions would further drive the narrative tension. This could include both suspicion of the foreigners and their boxy Autochrome Lumière cameras, and happier connections between the visitors and the locals that transcend cultural differences and technology.

Here is an opportunity to introduce a fictional Irish guide and translator, who also could be the film’s omniscient narrator. At first I considered such a character as a man. “Why not another woman?”, my wife asked, which would further increase the film’s Bechdel Test rating. And what of the relationship between the two women: just photojournalists on assignment, or something more? 

Another opportunity for narrative tension is to consider that Mignon-Alba and Mespoulet visited Ireland in the waning years of the Lawrence Studio in Dublin. From 1880 until 1914, owner William M. Lawrence employed Robert French to photograph all 32 counties for postcards, albums, lecture sets, and other commercial enterprises. The estimated 40,000 images were all black and white. By 1913, both men were in their 70s and their collection — an important historical archive today — was being eclipsed as cameras became commonplace, including color photography, and moving pictures captured popular attention.²

There’s a natural contrast between the aging men doing black and white photography and the young women using color technology. Perhaps the photographers would meet in the movie, finding common ground — or not.

Hollywood will not make this movie. This is an art film. Irish, French, and European Union cultural organizations should finance it. It could include three languages — French, Irish, and English — with subtitles. It should have a dreamy background score appropriate to its cinematic sweep. I’d avoid mainstream actresses for the roles of Mignon-Alba and Mespoulet, but the aging Lawrence, French, and Kahn could be good cameo opportunities for Irish and French actors.

Potential first scene: Mignon-Alba and Mespoulet arrive at an Irish port filled with emigrants. They discuss why so many people leave Ireland, never to return. Potential last scene: Back in their Paris studio, the women realize their photo plates of one special encounter with Irish people were exposed to light and did not survive the journey; it remains only in their memories. Their remaining 73 photos become part of history and this film.

If some filmmaker has already tackled this project, please let me know. For now, watch a 3-minute slide show of the 1913 images from Ireland.