7.1/10
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The Black Imp (1905)

Le diable noir (original title)
Not Rated | | Short, Comedy, Horror
A traveler at an inn is harassed by a mischievous devil in his room.

Director:

Georges Méliès
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Cast

Credited cast:
Georges Méliès
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Storyline

A mischievous black imp hiding in a hotel room, enjoys his privacy jumping around from the bed to the table, and then, from the chair to the priceless davenport. However, when a respectable resident arrives escorted by the landlady and her husband, before long, the furniture will begin vanishing or stacking into impossible configurations, and much to the visitor's surprise, teleport back into the room. Eventually, as the culprit manifests before the man's eyes, inevitably, pandemonium ensues. Is there a way to get rid of this nuisance? Written by Nick Riganas

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Genres:

Short | Comedy | Horror

Certificate:

Not Rated | See all certifications »
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Details

Country:

France

Also Known As:

The Black Imp See more »

Company Credits

Production Co:

Star-Film See more »
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Technical Specs

Runtime:

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
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User Reviews

Never Disturb a Sleeping Devil...
6 September 2009 | by JoeytheBritSee all my reviews

The jump cut was the key element in early movie conjurer Georges Melies bag of tricks, and as he grew more experienced in the production of films so his use of this trick grew more sophisticated. This ingenious little movie shows off Melies' adeptness to good effect, and it's clear that a lot of imagination has been used in a simple tale.

A mischievous devil appears in a hotel room and is just preparing for a snooze when a traveller enters the room. Angered by this intrusion the devil plays a series of tricks on the traveller (who is played by Melies) until he drives him to near madness so that he has to be escorted from the room by hotel staff.

The use of the jump cut is used to good effect here, and they are particularly effective thanks to their unusual seamlessness. Usually in these early films it's easy to see where the cut has taken place. In this film, even though our knowledge of the technique means we know the exact moment when it has been used, very often here we can't actually see the cut. Definitely one of Melies' better films.


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