Despite the impressive use of stop-motion camera-work here, trick films like this were beginning to look a little dated back in 1908 simply because they failed to tell a story - which more and more films were beginning to do. Filmgoers were no longer astounded by the sheer fact of a film's existence and the simple tricks that could be performed with a camera, and were looking for something a little more sophisticated.
Segundo de Chomon is largely forgotten today, but in his time he was a rival to the infinitely more famous Georges Melies. He crafts quite an interesting film here which starts slowly with a lady presenting various sculptures and paintings in which the figures assume different poses. Things improve when we are shown moving figures created out of mounds of clay - mice on a boot, an eagle, a crooked old lady who turns into a real person before being once again transformed into a clay figure. It all seems fairly rudimentary in these days of CGI effects, but it still manages to retain an element of wonder.
Segundo de Chomon is largely forgotten today, but in his time he was a rival to the infinitely more famous Georges Melies. He crafts quite an interesting film here which starts slowly with a lady presenting various sculptures and paintings in which the figures assume different poses. Things improve when we are shown moving figures created out of mounds of clay - mice on a boot, an eagle, a crooked old lady who turns into a real person before being once again transformed into a clay figure. It all seems fairly rudimentary in these days of CGI effects, but it still manages to retain an element of wonder.