A man opens the big gates to the Lumière factory. Through the gateway and a smaller doorway beside it, workers are streaming out, turning either left or right. Most of them are women in ... See full summary »
A gardener is watering his flowers, when a mischievous boy sneaks up behind his back, and puts a foot on the water hose. The gardener is surprised, and looks into the nozzle to find out why... See full summary »
A baby is seated at a table between its cheerful parents, Auguste and Marguerite Lumière. While the father is feeding the baby with a spoon, the mother is pouring coffee into her cup. The ... See full summary »
Mrs. Auguste Lumiere,
A girl in a short Belle Epoch chorus outfit stands in a small circus ring with a flat of a fancy entrance way with portieres. Into frame steps an enormous fat pig of about 6 feet in height.... See full summary »
An isolated house in deserted area is too remote for a servant, who leaves a note, quietly exits the back door, and puts the key under the mat. Alone in the house is a mother and her infant... See full summary »
A conjurer with white beard and turban moves about in front of a building with an elaborate facade. He spies a golden beetle, about the size of a human infant, leaning against the wall. He ... See full summary »
"Music Forward!" is the order given by a lady in Colonial costume, and in march a group of five musicians, working industriously at their instruments. The directress stands them in a row, ... See full summary »
What does Satan do when he is bored? He puts on a magic show, of course!
This is one of the weirdest films I've ever seen from the filmmaker Segundo de Chomón--and much of this is because the film is set in Hell and the leading man is the Devil himself! Interestingly, he looks much more like a skeleton than 'Ol Scratch and he is bored. In fact, he's so bored that he decides to put on a magic show! Assisted by his main squeeze (Julienne Mathieu--the director's wife), the Devil does one trick after another after another. In fact, there are so many that it's fatiguing. It's much like watching three or four of Georges Méliès films (who Chomón is clearly copying from) and stringing them into one long film.
The film has some serious pluses--nice costumes, terrific sets and a weirdness that is wonderful. A huge minus that Chomón isn't innovating here but is 'copying' the work of another man--using a lot of the tricks innovated by Méliès. Fortunately, however, he still manages to make a very nice film.
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