"The Merry Frolics of Satan" is a fairly enjoyable fantasy adventure from early cinema magician Georges Méliès. As historian Richard Abel ("The Ciné Goes to Town") points out, these spectacles from Méliès were becoming increasingly elaborate and expensive to produce, especially by comparison to the smaller costs of his competitor's films, such as those by Pathé. As with some of his other pictures around this time, "The Merry Frolics of Satan" was produced specially for music-hall screenings. In this case, it was for the Chatelet's stage féerie "The Merry Deeds of Satan", from which this film is based (Abel).
In the film, Satan, disguised as a person, leads some misfortunate people on a hellish journey, including via a train the size of a child's amusement ride and a phantom carriage pulled by an apocalyptic skeletal horse. In the end, they're roasted by performers dressed in pig-like costumes. "The Merry Frolics of Satan" has its moments, including the phantom-carriage ride where movement is simulated by a moving backdrop of space stuff. This scene has become famous for having been used in many documentary clips on Méliès and early cinema. The print available from Flicker Alley is also hand-colored and tinted and includes narration. Yet, Méliès, unfortunately, also seemed to be relying more on theatrical tricks and less on cinematic ones as he had in his earlier spectacles. Stop-substitution splices and multiple-exposure photography remained the basis for his single-scene trick films, but his longer multi-scene fantasy adventures seemed to be becoming increasingly theatrical. The preference to use trap doors here instead of stop motion and editing for appearances and disappearances seems to evidence this increased theatricality.
In the film, Satan, disguised as a person, leads some misfortunate people on a hellish journey, including via a train the size of a child's amusement ride and a phantom carriage pulled by an apocalyptic skeletal horse. In the end, they're roasted by performers dressed in pig-like costumes. "The Merry Frolics of Satan" has its moments, including the phantom-carriage ride where movement is simulated by a moving backdrop of space stuff. This scene has become famous for having been used in many documentary clips on Méliès and early cinema. The print available from Flicker Alley is also hand-colored and tinted and includes narration. Yet, Méliès, unfortunately, also seemed to be relying more on theatrical tricks and less on cinematic ones as he had in his earlier spectacles. Stop-substitution splices and multiple-exposure photography remained the basis for his single-scene trick films, but his longer multi-scene fantasy adventures seemed to be becoming increasingly theatrical. The preference to use trap doors here instead of stop motion and editing for appearances and disappearances seems to evidence this increased theatricality.