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Has the Film Already Started? is (after Isou's Venom and Eternity) yet another masterpiece of Lettrist cinema, that despite its obscurity seems to have inspired many, from Godard to Brakhage. Just like Joyce destroyed and rebuilt literature, Lettrists first set out to introduce the world to their vision of poetry with poems consisting of sounds, syllabes, and alphabets (both existing and made up ones), that were not to be understood, but taken the way they are. With the combination of pronouncing both the actual letters as well as mouth farts, rhythmic incantations, and indistinguishable mumblings, they created a new language, made of such letters (hence their name - Lettrists).
After poetry, they set out to strike another art - cinema. As Isou says through the mouth of Danielle in Venom and Eternity: "This bloated pig [cinema] will soon explode". Of course, he, as well as other auteurs of Lettrist cinema, knew their films will be scandalous, so he remarks in the second part of the film: "Your hissing and your booing make no impression on me, because from Victor Hugo's "Ernani" to Bunel's "The Age of Gold," Cannes Grand Prize winner, everything I have loved has always been hissed and booed at first. At the premiere of "The Age of Gold" the angry audience broke the theatre seats. What worse can happen to me, and how can that affect me? The seats do not belong to me". Not just expecting such reactions, but rather encouraging them was Lemaitre in Has the Film Already Started?. He took cinema to its extremes, merging it with other arts, setting up provocations, and extending the film through the screen, onto the whole screening room and beyond.
It originally premiered in 1951 in Paris, and was one giant artistic provocation, a weird mix of avant-garde cinema and avant-garde performance. Colloquially speaking, Maurice Lemaitre might've been the first cinema troll. He would advertise the film beginning at 8:30, but the theatre wouldn't open until one hour later. The audience waiting outside the theatre was literally asssaulted by ice water buckets and carpet dust coming from apartment windows above the cinema. He would play Griffith's Intolerance, the ending of some random Western film, hang various objects like hats to cover the screen, set up a quarrel between the director and projectionist, which resulted in the latter tearing apart the film stock. While all of this was taking place, the voices of people shouting insults at the film were heard from the film's score. Before any member of the audience even thought about raging against the whole thing, paid actors hidden amongst the audience had already done it. Lemaitre succeeded. Chaos reigned. Cinema was destroyed.
But among all this juvenile goading, there is the film itself. Almost marginalized, set up merely as an ignition, an instrument of controversy. This invites the viewer to look at it solely through the prism of cheap provocationism, but seen as a single film, without all the controversy that surrounded its premiere, one finds it's not without its merits. Let me elaborate.
The problem with cinema in the 40s and at the beginning of 50s was that it was stale. Sure, there were experimental films since the birth of cinema, but the mainstream was more or less always the same. Silent cinema was different, because it didn't rely on dialogue. It conveyed its message through visuals and intertitles. Then came talkies that initially froze the development of camera movement. Dilettantes might say (and they actually did!) that sound annihilated cinema, but that's not entirely true. Yes, many early talkies were overreliant on the new invention, but many great directors (Lang, Pabst etc.) quickly adopted and mastered it. But cinema did need change. And this change did indeed come and revolutionized the way we look at film. It was the French New Wave, and other Waves all around the world, that did it. Many claim French writers for Cahiers du cinema were the first. But what about Lettrists? Those, who arguably influenced them.
Lettrists were right that cinema needed change, but one could accuse them of taking an arguably odd way of turning it into a radio play. Isou said: "Radio through television becomes a species of Cinema. Why shouldn't Cinema, in turn, become a species of radio?". He tried to destroy its visual aspect: "From the point of view of photography, I'll smite the picture with sun rays. I'll take old stock shots and scratch them; I'll claw at them so that unknown beauty sees the light of day. I shall sculpt flowers upon the film stock.". He tried to totally dismantle all elements of cinema.
Lemaitre's Has the Film Already Started? is perhaps even more avant-garde than Venom and Eternity. It has moments of unadulterated visual beauty. Shot (although this might not be the best choice of words) in both black and white and colour, but narrated almost non-stop, it can be considered an early (extreme) essay film. A frame by frame inscription in hand writing that was just like those at the end of some Brakhage films, or various numbers appearing at the screen bring to mind intertitles built of words and numbers used by Godard, see: chapter numbers in Masculin, Feminin, but these are only two possible influences the film had on other filmmakers.
Ç̶̬͎̈̀̓̀̿͠ḯ̴̧̡̲̖̠̥̠̇̊̈́̏̊̊̑̃͂̄̕ͅn̷̢̢̞͕̬̻̼͓̜͍̣̤͔͈̋́͛ͅe̷̻̥̞̿̆m̷̬͎̖̠͚̲̤̱͔͓̝̀͂͑̽ą̴͈͉̟̞͈̭̯̪͉̞̏͊͋̾̎͐ ̶̯͙͔̣̙͈̠̳̻̈͊͒̈ǐ̶͍̬̤́̈́͗̍̈́͗̍̐̈́͝s̶̡̢̝͙̻͈̘͍̟̤̞͉̫̩̊͊̓̿͆̇̑̉̈̋͐̽͐̂̚͜ ̶̛̣̮̩̩̈́͗̏̑̽͛͂̀̔̉̂̚͝͝d̷̨̯̦̲̦̭̜̭̗̉̈́̓͑͒͑e̴͎̣̺̻̺̋̽͘a̵̜̔͘ͅd̷̡̧̠͕͍̯͂́͑̊͌́̎͆̃̚̚͘͝,̴̼͈̮̻̲͙̣͍̳͙̮̜̯̱́̈́̄̐ ̶͔̳̟̈́̍̀å̵͎͌̀͂͊̊͐̅͘ń̶͖̩̤̟̲̮̳̹̟̹̭͇̂̒̈́͗̋͗̌d̴̡̧͉̗͎̤̥̭͔̘̲̤̯̲̽͊̎̂͝ ̵̡̛͉̍͗̇̅͛͛̈́̋̉̚͜͠ͅi̸̛̥͕̇̊͂̅̌͗͌̿͗́̚̕̕͝ͅf̴̡̝̺̟͍̗͚͎̭̣͚̿̋̒̓̇̆́͒͠ ̴̛̪̠̦͕̪̰͉̩̟̗͈̝͒̈̎̊̂͂͜͝͠ì̸͎͍͎̬̲̮͎̣̖̓̈͠ţ̴̰̦̯͉̤̯̱̩̱̘̳͉̇̾̆̂̊ ̶̬̙̌i̸̡̨̢͉͈͎̻̜̩̮͔̭̱̿͠s̷̛̛͖̣̭̠̝̘͗̿̿̇͂͋̋͊̀̇̿ń̷̢̳͙͉͖͈͕̞̠͇̓͐͆́̆͠'̵̖͓̒͋̿̒̀͘͠t̴̖̜̦̻̮̱͒̅̊̂̆,̸͎̟̩̰̓͗ͅ ̷̨͕̦̭̪͎̦͈̠̙̦̖̎͋̿̅̈́̀̾̈̀̄̐̍̔͘͜͝w̵͉̩̅̈́͗̔̊̊́͐̍͑̕͝ė̶̛̞̖̙̙̻̈̓͂̍̂̆̄͒̚ͅ ̷̛̞̺̗͔͓̙͉̟͓̯̜̹̬̩̥͐̓̅̐̑͘m̸̡̪̫̤̹̮͕̠̤̳̏͊̆͑̀͑̈͠͝ų̴̖̳̮͚͎̻̎̎̍s̵̠̞̙̠͓͈̃̊t̸̗͇̮̩͂̅͋̊̾͝ ̴̖͕̪̓̿̊̇͋͊
d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶̙̫̤̗̬͂͗̽͒͛͋̉͗̏͘ ̗̲̦ỡ̵̗͎̼̮͈͉͚̟̮̺͙̱͔͛͊̔͑̒̕͠ŷ̵̧̡̯̪͕̫̻́̌̀̉̄̈́̃͗́ ̴̭̻̬̪̍̄͒̉̿į̴͎̰̪̍̒̄̉́́̇͗̀t̵̫̰̣̟͖̗̪͇͂̅̏̈͆̚͝͠Ç̶̬͎̈̀̓̀̿͠ḯ̴̧̡̲̖̠̥̠̇̊̈́̏̊̊̑̃͂̄̕ͅn̷̢̢̞͕̬̻̼͓̜͍̣̤͔͈̋́͛ͅe̷̿̆ ̻̥̞m̷̬͎̖̠͚̲̤̱͔͓̝̀͂͑̽ą̴͈͉̟̞͈̭̯̪͉̞̏͊͋̾̎͐ ̶̯͙͔̣̙͈̠̳̻̈͊͒̈ǐ̶͍̬̤́̈́͗̍̈́͗̍̐̈́͝s̶̡̢̝͙̻͈̘͍̟̤̞͉̫̩̊͊̓̿͆̇̑̉̈̋͐̽͐̂̚͜ ̶̛̣̮̩̩̈́͗̏̑̽͛͂̀̔̉̂̚͝͝d̷̨̯̦̲̦̭̜̭̗̉̈́̓͑͒͑e̴͎̣̺̻̺̋̽͘a̵̜̔͘ͅd̷̡̧̠͕͍̯͂́͑̊͌́̎͆̃̚̚͘͝,̴̼͈̮̻̲͙̣͍̳͙̮̜̯̱́̈́̄̐ ̶͔̳̟̈́̍̀å̵͎͌̀͂͊̊͐̅͘ń̶͖̩̤̟̲̮̳̹̟̹̭͇̂̒̈́͗̋͗̌d̴̡̧͉̗͎̤̥̭͔̘̲̤̯̲̽͊̎̂͝ ̵̡̛͉̍͗̇̅͛͛̈́̋̉̚͜͠ͅi̸̛̥͕̇̊͂̅̌͗͌̿͗́̚̕̕͝ͅf̴̡̝̺̟͍̗͚͎̭̣͚̿̋̒̓̇̆́͒͠ ̴̛̪̠̦͕̪̰͉̩̟̗͈̝͒̈̎̊̂͂͜͝͠ì̸͎͍͎̬̲̮͎̣̖̓̈͠ţ̴̰̦̯͉̤̯̱̩̱̘̳͉̇̾̆̂̊ ̶̬̙̌i̸̡̨̢͉͈͎̻̜̩̮͔̭̱̿͠s̷̛̛͖̣̭̠̝̘͗̿̿̇͂͋̋͊̀̇̿ń̷̢̳͙͉͖͈͕̞̠͇̓͐͆́̆͠'̵̖͓̒͋̿̒̀͘͠t̴̖̜̦̻̮̱͒̅̊̂̆,̸͎̟̩̰̓͗ͅ ̷̨͕̦̭̪͎̦͈̠̙̦̖̎͋̿̅̈́̀̾̈̀̄̐̍̔͘͜͝w̵͉̩̅̈́͗̔̊̊́͐̍͑̕͝ė̶̛̞̖̙̙̻̈̓͂̍̂̆̄͒̚ͅ ̷̛̞̺̗͔͓̙͉̟͓̯̜̹̬̩̥͐̓̅̐̑͘m̸̡̪̫̤̹̮͕̠̤̳̏͊̆͑̀͑̈͠͝ų̴̖̳̮͚͎̻̎̎̍s̵̠̞̙̠͓͈̃̊t̸̗͇̮̩͂̅͋̊̾͝ ̴̧̖͕̪̓̿̊̇͋͊d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶͂͗̽͒ ̙̫̤̗̬̗̲̦͛͋̉͗̏͘ỡ̵̗͎̼̮͈͉͚̟̮̺͙̱͔͛͊̔͑̒̕͠ŷ̵̧̡̯̪͕̫̻́̌̀̉̄̈́̃͗́ ̴̭̻̬̪̍̄͒̉̿į̴͎̰̪̍̒̄̉́́̇͗̀t̵̫̰̣̟͖̗̪͇͂̅̏̈͆̚͝͠Ç̶̬͎̈̀̓̀̿͠ḯ̴̧̡̲̖̠̥̠̇̊̈́̏̊̊̑̃͂̄̕ͅn̷̢̢̞͕̬̻̼͓̜͍̣̤͔͈̋́͛ͅe̷̿̆ ̻̥̞m̷̬͎̖̠͚̲̤̱͔͓̝̀͂͑̽ą̴͈͉̟̞͈̭̯̪͉̞̏͊͋̾̎͐ ̶̯͙͔̣̙͈̠̳̻̈͊͒̈ǐ̶͍̬̤́̈́͗̍̈́͗̍̐̈́͝s̶̡̢̝͙̻͈̘͍̟̤̞͉̫̩̊͊̓̿͆̇̑̉̈̋͐̽͐̂̚͜ ̶̛̣̮̩̩̈́͗̏̑̽͛͂̀̔̉̂̚͝͝d̷̨̯̦̲̦̭̜̭̗̉̈́̓͑͒͑e̴͎̣̺̻̺̋̽͘a̵̜̔͘ͅd̷̡̧̠͕͍̯͂́͑̊͌́̎͆̃̚̚͘͝,̴̼͈̮̻̲͙̣͍̳͙̮̜̯̱́̈́̄̐ ̶͔̳̟̈́̍̀å̵͎͌̀͂͊̊͐̅͘ń̶͖̩̤̟̲̮̳̹̟̹̭͇̂̒̈́͗̋͗̌d̴̡̧͉̗͎̤̥̭͔̘̲̤̯̲̽͊̎̂͝ ̵̡̛͉̍͗̇̅͛͛̈́̋̉̚͜͠ͅi̸̛̥͕̇̊͂̅̌͗͌̿͗́̚̕̕͝ͅf̴̡̝̺̟͍̗͚͎̭̣͚̿̋̒̓̇̆́͒͠ ̴̛̪̠̦͕̪̰͉̩̟̗͈̝͒̈̎̊̂͂͜͝͠ì̸͎͍͎̬̲̮͎̣̖̓̈͠ţ̴̰̦̯͉̤̯̱̩̱̘̳͉̇̾̆̂̊ ̶̬̙̌i̸̡̨̢͉͈͎̻̜̩̮͔̭̱̿͠s̷̛̛͖̣̭̠̝̘͗̿̿̇͂͋̋͊̀̇̿ń̷̢̳͙͉͖͈͕̞̠͇̓͐͆́̆͠'̵̖͓̒͋̿̒̀͘͠t̴̖̜̦̻̮̱͒̅̊̂̆,̸͎̟̩̰̓͗ͅ ̷̨͕̦̭̪͎̦͈̠̙̦̖̎͋̿̅̈́̀̾̈̀̄̐̍̔͘͜͝w̵͉̩̅̈́͗̔̊̊́͐̍͑̕͝ė̶̛̞̖̙̙̻̈̓͂̍̂̆̄͒̚ͅ ̷̛̞̺̗͔͓̙͉̟͓̯̜̹̬̩̥͐̓̅̐̑͘m̸̡̪̫̤̹̮͕̠̤̳̏͊̆͑̀͑̈͠͝ų̴̖̳̮͚͎̻̎̎̍s̵̠̞̙̠͓͈̃̊t̸̗͇̮̩͂̅͋̊̾͝ ̴̧̖͕̪̓̿̊̇͋͊d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶͂͗̽͒ ̙̫̤̗̬̗̲̦͛͋̉͗̏͘d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶͂ ̙̫̤̗̬̗̲̦͗̽͒͛͋̉͗̏͘ỡ̵̗͎̼̮͈͉͚̟̮̺͙̱͔͛͊̔͑̒̕͠ŷ̵̧̡̯̪͕̫̻́̌̀̉̄̈́̃͗́ ̴̭̻̬̪̍̄͒̉̿į̴͎̰̪̍̒̄̉́́̇͗̀t̵̫̰̣̟͖̗̪͇͂̅̏̈͆̚͝͠Ç̶̬͎̈̀̓̀̿͠ḯ̴̧̡̲̖̠̥̠̇̊̈́̏̊̊̑̃͂̄̕ͅn̷̢̢̞͕̬̻̼͓̜͍̣̤͔͈̋́͛ͅe̷̿̆ ̻̥̞m̷̬͎̖̠͚̲̤̱͔͓̝̀͂͑̽ą̴͈͉̟̞͈̭̯̪͉̞̏͊͋̾̎͐ ̶̯͙͔̣̙͈̠̳̻̈͊͒̈ǐ̶͍̬̤́̈́͗̍̈́͗̍̐̈́͝s̶̡̢̝͙̻͈̘͍̟̤̞͉̫̩̊͊̓̿͆̇̑̉̈̋͐̽͐̂̚͜ ̶̛̣̮̩̩̈́͗̏̑̽͛͂̀̔̉̂̚͝͝d̷̨̯̦̲̦̭̜̭̗̉̈́̓͑͒͑e̴͎̣̺̻̺̋̽͘a̵̜̔͘ͅd̷̡̧̠͕͍̯͂́͑̊͌́̎͆̃̚̚͘͝,̴̼͈̮̻̲͙̣͍̳͙̮̜̯̱́̈́̄̐ ̶͔̳̟̈́̍̀å̵͎͌̀͂͊̊͐̅͘ń̶͖̩̤̟̲̮̳̹̟̹̭͇̂̒̈́͗̋͗̌d̴̡̧͉̗͎̤̥̭͔̘̲̤̯̲̽͊̎̂͝ ̵̡̛͉̍͗̇̅͛͛̈́̋̉̚͜͠ͅi̸̛̥͕̇̊͂̅̌͗͌̿͗́̚̕̕͝ͅf̴̡̝̺̟͍̗͚͎̭̣͚̿̋̒̓̇̆́͒͠ ̴̛̪̠̦͕̪̰͉̩̟̗͈̝͒̈̎̊̂͂͜͝͠ì̸͎͍͎̬̲̮͎̣̖̓̈͠ţ̴̰̦̯͉̤̯̱̩̱̘̳͉̇̾̆̂̊ ̶̬̙̌i̸̡̨̢͉͈͎̻̜̩̮͔̭̱̿͠s̷̛̛͖̣̭̠̝̘͗̿̿̇͂͋̋͊̀̇̿ń̷̢̳͙͉͖͈͕̞̠͇̓͐͆́̆͠'̵̖͓̒͋̿̒̀͘͠t̴̖̜̦̻̮̱͒̅̊̂̆,̸͎̟̩̰̓͗ͅ ̷̨͕̦̭̪͎̦͈̠̙̦̖̎͋̿̅̈́̀̾̈̀̄̐̍̔͘͜͝w̵͉̩̅̈́͗̔̊̊́͐̍͑̕͝ė̶̛̞̖̙̙̻̈̓͂̍̂̆̄͒̚ͅ ̷̛̞̺̗͔͓̙͉̟͓̯̜̹̬̩̥͐̓̅̐̑͘m̸̡̪̫̤̹̮͕̠̤̳̏͊̆͑̀͑̈͠͝ų̴̖̳̮͚͎̻̎̎̍s̵̠̞̙̠͓͈̃̊t̸̗͇̮̩͂̅͋̊̾͝ ̴̧̖͕̪̓̿̊̇͋͊d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶͂͗̽͒ ̙̫̤̗̬̗̲̦͛͋̉͗̏͘ỡ̵̗͎̼̮͈͉͚̟̮̺͙̱͔͛͊̔͑̒̕͠ŷ̵̧̡̯̪͕̫̻́̌̀̉̄̈́̃͗́ ̴̭̻̬̪̍̄͒̉̿į̴͎̰̪̍̒̄̉́́̇͗̀t̵̫̰̣̟͖̗̪͇͂̅̏̈͆̚͝͠Ç̶̬͎̈̀̓̀̿͠ḯ̴̧̡̲̖̠̥̠̇̊̈́̏̊̊̑̃͂̄̕ͅn̷̢̢̞͕̬̻̼͓̜͍̣̤͔͈̋́͛ͅe̷̿̆ ̻̥̞m̷̬͎̖̠͚̲̤̱͔͓̝̀͂͑̽ą̴͈͉̟̞͈̭̯̪͉̞̏͊͋̾̎͐ ̶̯͙͔̣̙͈̠̳̻̈͊͒̈ǐ̶͍̬̤́̈́͗̍̈́͗̍̐̈́͝s̶̡̢̝͙̻͈̘͍̟̤̞͉̫̩̊͊̓̿͆̇̑̉̈̋͐̽͐̂̚͜ ̶̛̣̮̩̩̈́͗̏̑̽͛͂̀̔̉̂̚͝͝d̷̨̯̦̲̦̭̜̭̗̉̈́̓͑͒͑e̴͎̣̺̻̺̋̽͘a̵̜̔͘ͅd̷̡̧̠͕͍̯͂́͑̊͌́̎͆̃̚̚͘͝,̴̼͈̮̻̲͙̣͍̳͙̮̜̯̱́̈́̄̐ ̶͔̳̟̈́̍̀å̵͎͌̀͂͊̊͐̅͘ń̶͖̩̤̟̲̮̳̹̟̹̭͇̂̒̈́͗̋͗̌d̴̡̧͉̗͎̤̥̭͔̘̲̤̯̲̽͊̎̂͝ ̵̡̛͉̍͗̇̅͛͛̈́̋̉̚͜͠ͅi̸̛̥͕̇̊͂̅̌͗͌̿͗́̚̕̕͝ͅf̴̡̝̺̟͍̗͚͎̭̣͚̿̋̒̓̇̆́͒͠ ̴̛̪̠̦͕̪̰͉̩̟̗͈̝͒̈̎̊̂͂͜͝͠ì̸͎͍͎̬̲̮͎̣̖̓̈͠ţ̴̰̦̯͉̤̯̱̩̱̘̳͉̇̾̆̂̊ ̶̬̙̌i̸̡̨̢͉͈͎̻̜̩̮͔̭̱̿͠s̷̛̛͖̣̭̠̝̘͗̿̿̇͂͋̋͊̀̇̿ń̷̢̳͙͉͖͈͕̞̠͇̓͐͆́̆͠'̵̖͓̒͋̿̒̀͘͠t̴̖̜̦̻̮̱͒̅̊̂̆,̸͎̟̩̰̓͗ͅ ̷̨͕̦̭̪͎̦͈̠̙̦̖̎͋̿̅̈́̀̾̈̀̄̐̍̔͘͜͝w̵͉̩̅̈́͗̔̊̊́͐̍͑̕͝ė̶̛̞̖̙̙̻̈̓͂̍̂̆̄͒̚ͅ ̷̛̞̺̗͔͓̙͉̟͓̯̜̹̬̩̥͐̓̅̐̑͘m̸̡̪̫̤̹̮͕̠̤̳̏͊̆͑̀͑̈͠͝ų̴̖̳̮͚͎̻̎̎̍s̵̠̞̙̠͓͈̃̊t̸̗͇̮̩͂̅͋̊̾͝ ̴̧̖͕̪̓̿̊̇͋͊d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶͂͗̽͒ ̙̫̤̗̬̗̲̦͛͋̉͗̏͘
Le film est déjà commencé ? [Has the Film Already Started?] (1951) -
"Cinema is dead, and if it isn't, we must destroy it." - Mr Minio
"Cinema is dead, and if it isn't, we must destroy it." - Mr Minio
Has the Film Already Started? is (after Isou's Venom and Eternity) yet another masterpiece of Lettrist cinema, that despite its obscurity seems to have inspired many, from Godard to Brakhage. Just like Joyce destroyed and rebuilt literature, Lettrists first set out to introduce the world to their vision of poetry with poems consisting of sounds, syllabes, and alphabets (both existing and made up ones), that were not to be understood, but taken the way they are. With the combination of pronouncing both the actual letters as well as mouth farts, rhythmic incantations, and indistinguishable mumblings, they created a new language, made of such letters (hence their name - Lettrists).
After poetry, they set out to strike another art - cinema. As Isou says through the mouth of Danielle in Venom and Eternity: "This bloated pig [cinema] will soon explode". Of course, he, as well as other auteurs of Lettrist cinema, knew their films will be scandalous, so he remarks in the second part of the film: "Your hissing and your booing make no impression on me, because from Victor Hugo's "Ernani" to Bunel's "The Age of Gold," Cannes Grand Prize winner, everything I have loved has always been hissed and booed at first. At the premiere of "The Age of Gold" the angry audience broke the theatre seats. What worse can happen to me, and how can that affect me? The seats do not belong to me". Not just expecting such reactions, but rather encouraging them was Lemaitre in Has the Film Already Started?. He took cinema to its extremes, merging it with other arts, setting up provocations, and extending the film through the screen, onto the whole screening room and beyond.
It originally premiered in 1951 in Paris, and was one giant artistic provocation, a weird mix of avant-garde cinema and avant-garde performance. Colloquially speaking, Maurice Lemaitre might've been the first cinema troll. He would advertise the film beginning at 8:30, but the theatre wouldn't open until one hour later. The audience waiting outside the theatre was literally asssaulted by ice water buckets and carpet dust coming from apartment windows above the cinema. He would play Griffith's Intolerance, the ending of some random Western film, hang various objects like hats to cover the screen, set up a quarrel between the director and projectionist, which resulted in the latter tearing apart the film stock. While all of this was taking place, the voices of people shouting insults at the film were heard from the film's score. Before any member of the audience even thought about raging against the whole thing, paid actors hidden amongst the audience had already done it. Lemaitre succeeded. Chaos reigned. Cinema was destroyed.
But among all this juvenile goading, there is the film itself. Almost marginalized, set up merely as an ignition, an instrument of controversy. This invites the viewer to look at it solely through the prism of cheap provocationism, but seen as a single film, without all the controversy that surrounded its premiere, one finds it's not without its merits. Let me elaborate.
The problem with cinema in the 40s and at the beginning of 50s was that it was stale. Sure, there were experimental films since the birth of cinema, but the mainstream was more or less always the same. Silent cinema was different, because it didn't rely on dialogue. It conveyed its message through visuals and intertitles. Then came talkies that initially froze the development of camera movement. Dilettantes might say (and they actually did!) that sound annihilated cinema, but that's not entirely true. Yes, many early talkies were overreliant on the new invention, but many great directors (Lang, Pabst etc.) quickly adopted and mastered it. But cinema did need change. And this change did indeed come and revolutionized the way we look at film. It was the French New Wave, and other Waves all around the world, that did it. Many claim French writers for Cahiers du cinema were the first. But what about Lettrists? Those, who arguably influenced them.
Lettrists were right that cinema needed change, but one could accuse them of taking an arguably odd way of turning it into a radio play. Isou said: "Radio through television becomes a species of Cinema. Why shouldn't Cinema, in turn, become a species of radio?". He tried to destroy its visual aspect: "From the point of view of photography, I'll smite the picture with sun rays. I'll take old stock shots and scratch them; I'll claw at them so that unknown beauty sees the light of day. I shall sculpt flowers upon the film stock.". He tried to totally dismantle all elements of cinema.
Lemaitre's Has the Film Already Started? is perhaps even more avant-garde than Venom and Eternity. It has moments of unadulterated visual beauty. Shot (although this might not be the best choice of words) in both black and white and colour, but narrated almost non-stop, it can be considered an early (extreme) essay film. A frame by frame inscription in hand writing that was just like those at the end of some Brakhage films, or various numbers appearing at the screen bring to mind intertitles built of words and numbers used by Godard, see: chapter numbers in Masculin, Feminin, but these are only two possible influences the film had on other filmmakers.
Ç̶̬͎̈̀̓̀̿͠ḯ̴̧̡̲̖̠̥̠̇̊̈́̏̊̊̑̃͂̄̕ͅn̷̢̢̞͕̬̻̼͓̜͍̣̤͔͈̋́͛ͅe̷̻̥̞̿̆m̷̬͎̖̠͚̲̤̱͔͓̝̀͂͑̽ą̴͈͉̟̞͈̭̯̪͉̞̏͊͋̾̎͐ ̶̯͙͔̣̙͈̠̳̻̈͊͒̈ǐ̶͍̬̤́̈́͗̍̈́͗̍̐̈́͝s̶̡̢̝͙̻͈̘͍̟̤̞͉̫̩̊͊̓̿͆̇̑̉̈̋͐̽͐̂̚͜ ̶̛̣̮̩̩̈́͗̏̑̽͛͂̀̔̉̂̚͝͝d̷̨̯̦̲̦̭̜̭̗̉̈́̓͑͒͑e̴͎̣̺̻̺̋̽͘a̵̜̔͘ͅd̷̡̧̠͕͍̯͂́͑̊͌́̎͆̃̚̚͘͝,̴̼͈̮̻̲͙̣͍̳͙̮̜̯̱́̈́̄̐ ̶͔̳̟̈́̍̀å̵͎͌̀͂͊̊͐̅͘ń̶͖̩̤̟̲̮̳̹̟̹̭͇̂̒̈́͗̋͗̌d̴̡̧͉̗͎̤̥̭͔̘̲̤̯̲̽͊̎̂͝ ̵̡̛͉̍͗̇̅͛͛̈́̋̉̚͜͠ͅi̸̛̥͕̇̊͂̅̌͗͌̿͗́̚̕̕͝ͅf̴̡̝̺̟͍̗͚͎̭̣͚̿̋̒̓̇̆́͒͠ ̴̛̪̠̦͕̪̰͉̩̟̗͈̝͒̈̎̊̂͂͜͝͠ì̸͎͍͎̬̲̮͎̣̖̓̈͠ţ̴̰̦̯͉̤̯̱̩̱̘̳͉̇̾̆̂̊ ̶̬̙̌i̸̡̨̢͉͈͎̻̜̩̮͔̭̱̿͠s̷̛̛͖̣̭̠̝̘͗̿̿̇͂͋̋͊̀̇̿ń̷̢̳͙͉͖͈͕̞̠͇̓͐͆́̆͠'̵̖͓̒͋̿̒̀͘͠t̴̖̜̦̻̮̱͒̅̊̂̆,̸͎̟̩̰̓͗ͅ ̷̨͕̦̭̪͎̦͈̠̙̦̖̎͋̿̅̈́̀̾̈̀̄̐̍̔͘͜͝w̵͉̩̅̈́͗̔̊̊́͐̍͑̕͝ė̶̛̞̖̙̙̻̈̓͂̍̂̆̄͒̚ͅ ̷̛̞̺̗͔͓̙͉̟͓̯̜̹̬̩̥͐̓̅̐̑͘m̸̡̪̫̤̹̮͕̠̤̳̏͊̆͑̀͑̈͠͝ų̴̖̳̮͚͎̻̎̎̍s̵̠̞̙̠͓͈̃̊t̸̗͇̮̩͂̅͋̊̾͝ ̴̖͕̪̓̿̊̇͋͊
d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶̙̫̤̗̬͂͗̽͒͛͋̉͗̏͘ ̗̲̦ỡ̵̗͎̼̮͈͉͚̟̮̺͙̱͔͛͊̔͑̒̕͠ŷ̵̧̡̯̪͕̫̻́̌̀̉̄̈́̃͗́ ̴̭̻̬̪̍̄͒̉̿į̴͎̰̪̍̒̄̉́́̇͗̀t̵̫̰̣̟͖̗̪͇͂̅̏̈͆̚͝͠Ç̶̬͎̈̀̓̀̿͠ḯ̴̧̡̲̖̠̥̠̇̊̈́̏̊̊̑̃͂̄̕ͅn̷̢̢̞͕̬̻̼͓̜͍̣̤͔͈̋́͛ͅe̷̿̆ ̻̥̞m̷̬͎̖̠͚̲̤̱͔͓̝̀͂͑̽ą̴͈͉̟̞͈̭̯̪͉̞̏͊͋̾̎͐ ̶̯͙͔̣̙͈̠̳̻̈͊͒̈ǐ̶͍̬̤́̈́͗̍̈́͗̍̐̈́͝s̶̡̢̝͙̻͈̘͍̟̤̞͉̫̩̊͊̓̿͆̇̑̉̈̋͐̽͐̂̚͜ ̶̛̣̮̩̩̈́͗̏̑̽͛͂̀̔̉̂̚͝͝d̷̨̯̦̲̦̭̜̭̗̉̈́̓͑͒͑e̴͎̣̺̻̺̋̽͘a̵̜̔͘ͅd̷̡̧̠͕͍̯͂́͑̊͌́̎͆̃̚̚͘͝,̴̼͈̮̻̲͙̣͍̳͙̮̜̯̱́̈́̄̐ ̶͔̳̟̈́̍̀å̵͎͌̀͂͊̊͐̅͘ń̶͖̩̤̟̲̮̳̹̟̹̭͇̂̒̈́͗̋͗̌d̴̡̧͉̗͎̤̥̭͔̘̲̤̯̲̽͊̎̂͝ ̵̡̛͉̍͗̇̅͛͛̈́̋̉̚͜͠ͅi̸̛̥͕̇̊͂̅̌͗͌̿͗́̚̕̕͝ͅf̴̡̝̺̟͍̗͚͎̭̣͚̿̋̒̓̇̆́͒͠ ̴̛̪̠̦͕̪̰͉̩̟̗͈̝͒̈̎̊̂͂͜͝͠ì̸͎͍͎̬̲̮͎̣̖̓̈͠ţ̴̰̦̯͉̤̯̱̩̱̘̳͉̇̾̆̂̊ ̶̬̙̌i̸̡̨̢͉͈͎̻̜̩̮͔̭̱̿͠s̷̛̛͖̣̭̠̝̘͗̿̿̇͂͋̋͊̀̇̿ń̷̢̳͙͉͖͈͕̞̠͇̓͐͆́̆͠'̵̖͓̒͋̿̒̀͘͠t̴̖̜̦̻̮̱͒̅̊̂̆,̸͎̟̩̰̓͗ͅ ̷̨͕̦̭̪͎̦͈̠̙̦̖̎͋̿̅̈́̀̾̈̀̄̐̍̔͘͜͝w̵͉̩̅̈́͗̔̊̊́͐̍͑̕͝ė̶̛̞̖̙̙̻̈̓͂̍̂̆̄͒̚ͅ ̷̛̞̺̗͔͓̙͉̟͓̯̜̹̬̩̥͐̓̅̐̑͘m̸̡̪̫̤̹̮͕̠̤̳̏͊̆͑̀͑̈͠͝ų̴̖̳̮͚͎̻̎̎̍s̵̠̞̙̠͓͈̃̊t̸̗͇̮̩͂̅͋̊̾͝ ̴̧̖͕̪̓̿̊̇͋͊d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶͂͗̽͒ ̙̫̤̗̬̗̲̦͛͋̉͗̏͘ỡ̵̗͎̼̮͈͉͚̟̮̺͙̱͔͛͊̔͑̒̕͠ŷ̵̧̡̯̪͕̫̻́̌̀̉̄̈́̃͗́ ̴̭̻̬̪̍̄͒̉̿į̴͎̰̪̍̒̄̉́́̇͗̀t̵̫̰̣̟͖̗̪͇͂̅̏̈͆̚͝͠Ç̶̬͎̈̀̓̀̿͠ḯ̴̧̡̲̖̠̥̠̇̊̈́̏̊̊̑̃͂̄̕ͅn̷̢̢̞͕̬̻̼͓̜͍̣̤͔͈̋́͛ͅe̷̿̆ ̻̥̞m̷̬͎̖̠͚̲̤̱͔͓̝̀͂͑̽ą̴͈͉̟̞͈̭̯̪͉̞̏͊͋̾̎͐ ̶̯͙͔̣̙͈̠̳̻̈͊͒̈ǐ̶͍̬̤́̈́͗̍̈́͗̍̐̈́͝s̶̡̢̝͙̻͈̘͍̟̤̞͉̫̩̊͊̓̿͆̇̑̉̈̋͐̽͐̂̚͜ ̶̛̣̮̩̩̈́͗̏̑̽͛͂̀̔̉̂̚͝͝d̷̨̯̦̲̦̭̜̭̗̉̈́̓͑͒͑e̴͎̣̺̻̺̋̽͘a̵̜̔͘ͅd̷̡̧̠͕͍̯͂́͑̊͌́̎͆̃̚̚͘͝,̴̼͈̮̻̲͙̣͍̳͙̮̜̯̱́̈́̄̐ ̶͔̳̟̈́̍̀å̵͎͌̀͂͊̊͐̅͘ń̶͖̩̤̟̲̮̳̹̟̹̭͇̂̒̈́͗̋͗̌d̴̡̧͉̗͎̤̥̭͔̘̲̤̯̲̽͊̎̂͝ ̵̡̛͉̍͗̇̅͛͛̈́̋̉̚͜͠ͅi̸̛̥͕̇̊͂̅̌͗͌̿͗́̚̕̕͝ͅf̴̡̝̺̟͍̗͚͎̭̣͚̿̋̒̓̇̆́͒͠ ̴̛̪̠̦͕̪̰͉̩̟̗͈̝͒̈̎̊̂͂͜͝͠ì̸͎͍͎̬̲̮͎̣̖̓̈͠ţ̴̰̦̯͉̤̯̱̩̱̘̳͉̇̾̆̂̊ ̶̬̙̌i̸̡̨̢͉͈͎̻̜̩̮͔̭̱̿͠s̷̛̛͖̣̭̠̝̘͗̿̿̇͂͋̋͊̀̇̿ń̷̢̳͙͉͖͈͕̞̠͇̓͐͆́̆͠'̵̖͓̒͋̿̒̀͘͠t̴̖̜̦̻̮̱͒̅̊̂̆,̸͎̟̩̰̓͗ͅ ̷̨͕̦̭̪͎̦͈̠̙̦̖̎͋̿̅̈́̀̾̈̀̄̐̍̔͘͜͝w̵͉̩̅̈́͗̔̊̊́͐̍͑̕͝ė̶̛̞̖̙̙̻̈̓͂̍̂̆̄͒̚ͅ ̷̛̞̺̗͔͓̙͉̟͓̯̜̹̬̩̥͐̓̅̐̑͘m̸̡̪̫̤̹̮͕̠̤̳̏͊̆͑̀͑̈͠͝ų̴̖̳̮͚͎̻̎̎̍s̵̠̞̙̠͓͈̃̊t̸̗͇̮̩͂̅͋̊̾͝ ̴̧̖͕̪̓̿̊̇͋͊d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶͂͗̽͒ ̙̫̤̗̬̗̲̦͛͋̉͗̏͘d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶͂ ̙̫̤̗̬̗̲̦͗̽͒͛͋̉͗̏͘ỡ̵̗͎̼̮͈͉͚̟̮̺͙̱͔͛͊̔͑̒̕͠ŷ̵̧̡̯̪͕̫̻́̌̀̉̄̈́̃͗́ ̴̭̻̬̪̍̄͒̉̿į̴͎̰̪̍̒̄̉́́̇͗̀t̵̫̰̣̟͖̗̪͇͂̅̏̈͆̚͝͠Ç̶̬͎̈̀̓̀̿͠ḯ̴̧̡̲̖̠̥̠̇̊̈́̏̊̊̑̃͂̄̕ͅn̷̢̢̞͕̬̻̼͓̜͍̣̤͔͈̋́͛ͅe̷̿̆ ̻̥̞m̷̬͎̖̠͚̲̤̱͔͓̝̀͂͑̽ą̴͈͉̟̞͈̭̯̪͉̞̏͊͋̾̎͐ ̶̯͙͔̣̙͈̠̳̻̈͊͒̈ǐ̶͍̬̤́̈́͗̍̈́͗̍̐̈́͝s̶̡̢̝͙̻͈̘͍̟̤̞͉̫̩̊͊̓̿͆̇̑̉̈̋͐̽͐̂̚͜ ̶̛̣̮̩̩̈́͗̏̑̽͛͂̀̔̉̂̚͝͝d̷̨̯̦̲̦̭̜̭̗̉̈́̓͑͒͑e̴͎̣̺̻̺̋̽͘a̵̜̔͘ͅd̷̡̧̠͕͍̯͂́͑̊͌́̎͆̃̚̚͘͝,̴̼͈̮̻̲͙̣͍̳͙̮̜̯̱́̈́̄̐ ̶͔̳̟̈́̍̀å̵͎͌̀͂͊̊͐̅͘ń̶͖̩̤̟̲̮̳̹̟̹̭͇̂̒̈́͗̋͗̌d̴̡̧͉̗͎̤̥̭͔̘̲̤̯̲̽͊̎̂͝ ̵̡̛͉̍͗̇̅͛͛̈́̋̉̚͜͠ͅi̸̛̥͕̇̊͂̅̌͗͌̿͗́̚̕̕͝ͅf̴̡̝̺̟͍̗͚͎̭̣͚̿̋̒̓̇̆́͒͠ ̴̛̪̠̦͕̪̰͉̩̟̗͈̝͒̈̎̊̂͂͜͝͠ì̸͎͍͎̬̲̮͎̣̖̓̈͠ţ̴̰̦̯͉̤̯̱̩̱̘̳͉̇̾̆̂̊ ̶̬̙̌i̸̡̨̢͉͈͎̻̜̩̮͔̭̱̿͠s̷̛̛͖̣̭̠̝̘͗̿̿̇͂͋̋͊̀̇̿ń̷̢̳͙͉͖͈͕̞̠͇̓͐͆́̆͠'̵̖͓̒͋̿̒̀͘͠t̴̖̜̦̻̮̱͒̅̊̂̆,̸͎̟̩̰̓͗ͅ ̷̨͕̦̭̪͎̦͈̠̙̦̖̎͋̿̅̈́̀̾̈̀̄̐̍̔͘͜͝w̵͉̩̅̈́͗̔̊̊́͐̍͑̕͝ė̶̛̞̖̙̙̻̈̓͂̍̂̆̄͒̚ͅ ̷̛̞̺̗͔͓̙͉̟͓̯̜̹̬̩̥͐̓̅̐̑͘m̸̡̪̫̤̹̮͕̠̤̳̏͊̆͑̀͑̈͠͝ų̴̖̳̮͚͎̻̎̎̍s̵̠̞̙̠͓͈̃̊t̸̗͇̮̩͂̅͋̊̾͝ ̴̧̖͕̪̓̿̊̇͋͊d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶͂͗̽͒ ̙̫̤̗̬̗̲̦͛͋̉͗̏͘ỡ̵̗͎̼̮͈͉͚̟̮̺͙̱͔͛͊̔͑̒̕͠ŷ̵̧̡̯̪͕̫̻́̌̀̉̄̈́̃͗́ ̴̭̻̬̪̍̄͒̉̿į̴͎̰̪̍̒̄̉́́̇͗̀t̵̫̰̣̟͖̗̪͇͂̅̏̈͆̚͝͠Ç̶̬͎̈̀̓̀̿͠ḯ̴̧̡̲̖̠̥̠̇̊̈́̏̊̊̑̃͂̄̕ͅn̷̢̢̞͕̬̻̼͓̜͍̣̤͔͈̋́͛ͅe̷̿̆ ̻̥̞m̷̬͎̖̠͚̲̤̱͔͓̝̀͂͑̽ą̴͈͉̟̞͈̭̯̪͉̞̏͊͋̾̎͐ ̶̯͙͔̣̙͈̠̳̻̈͊͒̈ǐ̶͍̬̤́̈́͗̍̈́͗̍̐̈́͝s̶̡̢̝͙̻͈̘͍̟̤̞͉̫̩̊͊̓̿͆̇̑̉̈̋͐̽͐̂̚͜ ̶̛̣̮̩̩̈́͗̏̑̽͛͂̀̔̉̂̚͝͝d̷̨̯̦̲̦̭̜̭̗̉̈́̓͑͒͑e̴͎̣̺̻̺̋̽͘a̵̜̔͘ͅd̷̡̧̠͕͍̯͂́͑̊͌́̎͆̃̚̚͘͝,̴̼͈̮̻̲͙̣͍̳͙̮̜̯̱́̈́̄̐ ̶͔̳̟̈́̍̀å̵͎͌̀͂͊̊͐̅͘ń̶͖̩̤̟̲̮̳̹̟̹̭͇̂̒̈́͗̋͗̌d̴̡̧͉̗͎̤̥̭͔̘̲̤̯̲̽͊̎̂͝ ̵̡̛͉̍͗̇̅͛͛̈́̋̉̚͜͠ͅi̸̛̥͕̇̊͂̅̌͗͌̿͗́̚̕̕͝ͅf̴̡̝̺̟͍̗͚͎̭̣͚̿̋̒̓̇̆́͒͠ ̴̛̪̠̦͕̪̰͉̩̟̗͈̝͒̈̎̊̂͂͜͝͠ì̸͎͍͎̬̲̮͎̣̖̓̈͠ţ̴̰̦̯͉̤̯̱̩̱̘̳͉̇̾̆̂̊ ̶̬̙̌i̸̡̨̢͉͈͎̻̜̩̮͔̭̱̿͠s̷̛̛͖̣̭̠̝̘͗̿̿̇͂͋̋͊̀̇̿ń̷̢̳͙͉͖͈͕̞̠͇̓͐͆́̆͠'̵̖͓̒͋̿̒̀͘͠t̴̖̜̦̻̮̱͒̅̊̂̆,̸͎̟̩̰̓͗ͅ ̷̨͕̦̭̪͎̦͈̠̙̦̖̎͋̿̅̈́̀̾̈̀̄̐̍̔͘͜͝w̵͉̩̅̈́͗̔̊̊́͐̍͑̕͝ė̶̛̞̖̙̙̻̈̓͂̍̂̆̄͒̚ͅ ̷̛̞̺̗͔͓̙͉̟͓̯̜̹̬̩̥͐̓̅̐̑͘m̸̡̪̫̤̹̮͕̠̤̳̏͊̆͑̀͑̈͠͝ų̴̖̳̮͚͎̻̎̎̍s̵̠̞̙̠͓͈̃̊t̸̗͇̮̩͂̅͋̊̾͝ ̴̧̖͕̪̓̿̊̇͋͊d̴̙̘͈̦̯̳͕̤̺̼͇̜̕e̶̡̹̟̫̗̩̖͉̖̝̘̣͔̥͛̆͋́̽̋͜s̶͇͔̱̫̥̱͙͕̞̹̍̂͗̄͂̒̐̽͂́̅̒̊̕͝ͅt̴̖̫̩͉͉̞͆͑̄̏͑͆̓̚ͅr̶͂͗̽͒ ̙̫̤̗̬̗̲̦͛͋̉͗̏͘