''Carlos Ruiz peleando con un cochero'' (English: ''Carlos Ruiz fighting with a coachman'') is a Venezuelan slapstick comedy film created by and starring

Carlos Ruiz Chapellín Carlos Ruiz Chapellín (Caracas, 1865—August 1912) was a Venezuelan showman, filmmaker and performer. He is remembered for creating slapstick comedy films in the late 19th century. Theatre producer and showman Ruiz's first business was in putt ...

and Ricardo Rouffet. It was first played in the Circo Metropolitano de Caracas on November 26, 1897.

Background

Ruiz was a showman by trade, and rented the Circo Metropolitano to show

zarzuela () is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance. The etymology of the name is uncertain, but some propose it may derive from the name of ...

s and

circus A circus is a company of performers who put on diverse entertainment shows that may include clowns, acrobats, trained animals, trapeze acts, musicians, dancers, hoopers, tightrope walkers, jugglers, magicians, ventriloquists, and unicyclist ...

variety show Variety show, also known as variety arts or variety entertainment, is entertainment made up of a variety of acts including musical theatre, musical performances, sketch comedy, magic (illusion), magic, acrobatics, juggling, and ventriloquism. It is ...

s as well as films. In 1897, after the release of the first Venezuelan films in

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, Ruiz went into business with Ricardo Rouffet to create their own films. He had several contracts with figures including W. O. Wolcopt with a and Gabriel Veyre with a

Cinematograph Cinematograph or kinematograph is an early term for several types of motion picture film mechanisms. The name was used for movie cameras as well as film projectors, or for complete systems that also provided means to print films (such as the Cin ...

to show films at the Circo. Wolcopt then traveled around the country and Veyre left to Colombia before ''Carlos Ruiz peleando...'' was released, but his Cinematograph, which could both record and project film, may have been used to make Ruiz' films. Azuaga García describes Ruiz' choice to hold film showings in a circus as "gaudy", as the previous screenings were held in spectacular theatres and halls, but also suggests it was Ruiz' attempt to "truly bring cinema to the popular classes".

Film screening and content

In November 1897, advertisements in Caracas start promoting "the new Projectoscope", claiming it played in color, and " criollo views", referring to the pair of films made by Venezuelans Ruiz and Rouffet. They also claimed that they would be the first Venezuelan-made films to play in the capital. In the film, Ruiz as a character gets into a stagecoach heist and a fight with its coachman; Azuaga García notes that the devised situation makes this film an early attempt at narrative staging. Despite the fictional scenario, the films may have been advertised to the French as showing "real things" from life in the Caracas area. Sueiro Villanueva proposes that Rouffet was the film's active director, but also proposes that someone else altogether could have handled the camera, acting as director but staying absent from the public screenings. Details on neither Rouffet nor the films were published in the local press, suggesting that it was critically overlooked.

References

Sources

;Literature * * * * ;Web * * {{Cinema of Venezuela 1897 short films 1897 comedy films 1897 films Venezuelan black-and-white films Venezuelan comedy films Venezuelan silent short films Silent comedy films