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Scullion's Dream (1908)
"Le rêve des marmitons" (original title)

6.5
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Ratings: 6.5/10 from 37 users  
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The view is that of the interior of a kitchen where, under the watchful eyes of the chef, the scullions and dishwashers are engaged at their work industriously. When the chef leaves the ... See full summary »

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Title: Scullion's Dream (1908)

Scullion's Dream (1908) on IMDb 6.5/10

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The view is that of the interior of a kitchen where, under the watchful eyes of the chef, the scullions and dishwashers are engaged at their work industriously. When the chef leaves the chamber for a moment there is pandemonium, for the scullions prove to be good acrobats and they tumble and fly around the room, cutting up all sorts of high jinks; but as soon as they hear his heavy footsteps they jump to their little stools once more and resume their labors innocently. The unsuspecting chef takes his seat in his big chair, and soon all are at work, forgetful of all else. So innocently do they perform their labors that soon, they begin to nod drowsily, and one of them, a peeler, falls asleep. A close view now shows his dream. A huge knife moving on its own accord, cuts off his hands; one of them grasps the knife, while the other holds a beet, and both hands cut the beet into slices; the pieces go through some stunts of evolution, after which they spring back into place, and the beet is... Written by Moving Picture World synopsis

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Short

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22 February 1908 (USA)  »

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Scullion's Dream  »

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1.33 : 1
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No Rest for the Weary
17 October 2010 | by (New York City) – See all my reviews

When the entire kitchen staff falls asleep from exhaustion, a dwarf appears and animates various objects via stop motion -- including their hands, which he cuts off while they snooze -- to do their work.

One of Georges Melies' themes appears in THE TIRED TAILOR'S DREAM, which de Chomon has borrowed for this short. His production values are greater than those of Melies (this kitchen is staffed with eight people, whereas Melies' films on the theme are typically solo performances), but de Chomon pulls out all stops, including the macabre chopping off of hands, wicker baskets that weave themselves and flies that draw faces on bald heads. The last feels a bit like padding to me and lesser, thereby, than the stuff Melies did.


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