The recording history would actually suggest dates of either 1929.or 1931. Both somgs came out in 1929 (not 1930) but Fréhel herself did not record A la dérive until 1931. There is however nothing in the film to indicate that the Fréhel version of the song was the one originally used and the lypsynch mismatch noticed by another reviewer may in fact be because this Fréhel version was used rather than the faster Georgette Kerkor version of 1929. I agree that these moments in the video are intended to correspond with the song (the credits distinctly describe the actress as "miming").
The soundtrack details rathr oddly give the parolier (lyricist) in one case and the composer in the other. Full credits for Toute seule are Eugéne Gavel (music) and Chales Seider (paroles) and for A la dérive Léo Daniderff (Ferdinand Niquet) (music) and E. Ronn (Henri Limmonier) (paroles).
It is without much meaning to talk of this as "the first music video" since performances of songs to accompany records had been produced since 1900 (Phono-Cinéma-Théâtre) and several hundred such "phonoscènes" had been produced by Gaumont between 1902 and 1917 (and many more by other companies. In the sense of being a video to accompany a song (rather than just a miming of its performance), the Max Linder film Le Pendu (1906) and presumably the Gaumont version of the same song in the same year appear to have been used in this way and Edwin S. Porter for Edison (1906-1907), as well as making a version of Waiting at the Church to accompany live performances by Vesta Victoria also produced a dramatised version of the song whch could have been accompanied by a recording or a live version in the cinema. This had also already been done by Georges Lordier in his Chansons filmées de Georges Lordier 1917-1920 (over three hundred and fifty of them) which were accompanied by live actors and singers (performing behind a screen) although doubtless recorded versions of the songs were also used. So "music videos" go back a bit further than one might imagine....
The idea that the first part might in any sense be intended as a continuation of the second requires a very strange reading of what is occurring in the second but I will say no more to avoid spoiling.....even if another reviewer already has.
The soundtrack details rathr oddly give the parolier (lyricist) in one case and the composer in the other. Full credits for Toute seule are Eugéne Gavel (music) and Chales Seider (paroles) and for A la dérive Léo Daniderff (Ferdinand Niquet) (music) and E. Ronn (Henri Limmonier) (paroles).
It is without much meaning to talk of this as "the first music video" since performances of songs to accompany records had been produced since 1900 (Phono-Cinéma-Théâtre) and several hundred such "phonoscènes" had been produced by Gaumont between 1902 and 1917 (and many more by other companies. In the sense of being a video to accompany a song (rather than just a miming of its performance), the Max Linder film Le Pendu (1906) and presumably the Gaumont version of the same song in the same year appear to have been used in this way and Edwin S. Porter for Edison (1906-1907), as well as making a version of Waiting at the Church to accompany live performances by Vesta Victoria also produced a dramatised version of the song whch could have been accompanied by a recording or a live version in the cinema. This had also already been done by Georges Lordier in his Chansons filmées de Georges Lordier 1917-1920 (over three hundred and fifty of them) which were accompanied by live actors and singers (performing behind a screen) although doubtless recorded versions of the songs were also used. So "music videos" go back a bit further than one might imagine....
The idea that the first part might in any sense be intended as a continuation of the second requires a very strange reading of what is occurring in the second but I will say no more to avoid spoiling.....even if another reviewer already has.