By 1898, Georges Méliès was finally beginning to fully realize the potential of the film edit and how such a simple effect could achieve magnificent illusions on film. Of course, the entire concept wasn't new to him at all; his earliest trick film productions dated back to 1896, the very year he began filmmaking, and they already showed themes of his later work. However, actualities were still a thing (and they would be for another couple years) so the legendary director still couldn't resist filming a few of these little everyday life snippets here and there (which "Panorama From Top of a Moving Train" from the same year is evidence of). In fact, a good deal of his work was indeed still documentary by this point. So when the director made "The Magician" (what else could you call such a short) he was clearly unleashing his magic onto film, exploring all possible uses of the film edit. Like "A Nightmare" from two years before, the whole minute which makes up "The Magician" is packed with action--transformations, appearances and disappearances. There is absolutely no plot of any sorts and it makes no sense at all. But that's Méliès for you.
This 'trick film', as they are called, begins with a wizard (possibly played by Méliès) making a box appear on a table. He dives into the box, and out jumps Pierrot (also possibly played by Méliès since the gestures are similar, but not sure because of lack of beard). The magician is obviously confused as to why he turned into Pierrot, so he sits down at the table. Food appears, he tries to eat and the table vanishes. Next, a man dressed like Shakespeare (Méliès possibly, because of the beard) appears, taps him on the shoulder and he's now a sculptor (played by Méliès for certain). The sculptor now attempts to finish his bust, (which has also appeared) however, it comes to life and scares him. The pedestal disappears and statues of beautiful women appear constantly. Finally, the man dressed as Shakespeare shows up once more and kicks him into the air, and it ends.
Like I said before, "The Magician" makes very little sense. Even the edits in here are a little noticeable and would improve as the director progressed further into trick films. But the superimposing (double exposure) of the bust coming to life looked excellent, considering it was still something the director was experimenting with (and Cineanalyst has pointed out he had used it previously in 1897). It lacks a plot overall but makes up for it in humor and entertainment. I can imagine that audiences in 1898 were truly dazzled by this series of edits.
On a side note, I'd like to point out that reviewer Snow Leopard describes a different film in his review--one which involves Méliès doing tricks with a female assistant. My guess is that the film Snow Leopard saw was not this short, but a different Méliès movie--"The Conjurer" from 1899 (aka "A Turn of the Century Illusionist" on IMDb and "An Up-to-Date Conjurer" elsewhere).
1 out of 1 found this helpful.
Was this review helpful? Sign in to vote.
Permalink