A train, with a camera mounted near the front, pulls out of the Jerusalem station. It passes groups, first of Europeans, then Palestinian Arabs, then Palestinian Jews. Dress, hats, and ... See full summary »
"This film is remarkable in several respects. In the first place, it is full life-size. Secondly, it is the only accurate recent portrait of the great inventor. The scene is an actual one, ... See full summary »
Walking four abreast, in groups of six rows, 144 of Chicago's finest parade past a stationary camera. Each of the six groups that pass is escorted by an officer. All are men, all are white,... See full summary »
A commercial. Four men sit in animated conversation in front of a billboard for Admiral Cigarettes. The billboard fills the entire background. Beside them is a large box, also marked ... See full summary »
The conjurer appears at a blackboard and shows the head of a knight on it. He seizes the picture of the head, removes it from the blackboard, and it turns into life and bows and smiles ... See full summary »
The scene opens in an artist's studio where the unfinished statue of William Tell stands upon a pedestal. A clown appears and sticks a clay arm and clay head on the statue, thus completing ... See full summary »
An elegantly dressed man enters through a stage door onto a set with decorated back screen, a chair and small table. He brings a well-dressed women through the door, spreads a newspaper on the floor, and places the chair on it. She sits and fans herself; he covers her with a diaphanous cloth. She disappears; he tries to conjure her back with incomplete results. Can he go beyond the bare bones of a conjuring trick and succeed in the complete reconstitution of a the lady? Written by
Méliès' "Escamotage d'une dame au théâtre Robert Houdin" (1896) or "The Vanishing Lady" is an early example of trick cinematography, utilizing his renowned and often-used technique of stopping the camera mid-scene and altering the mise en scène. As such, it's highly entertaining, although if you delve deeper into Méliès' films you'll soon become very familiar with this technique and its possible variations.
I hope you read the IMDb comment "Magic and Presentation" (January 27th, 2008) by Cineanalyst, where the history behind the French title is well explained. Knowing the historical background isn't mere trivia here but might actually help you appreciate the film more.
Films are a magic show, and it's good to revisit these older films that explicitly remind us lest we forget.
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