The most famous magician is outdone in this film, for, by the simple means of a wand and an empty glass, toys are transformed into animals, animals into flowers and flowers into a bevy of beautiful girls.
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Title: Métamorphoses (1912)
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Storyline
The most famous magician is outdone in this film, for, by the simple means of a wand and an empty glass, toys are transformed into animals, animals into flowers and flowers into a bevy of beautiful girls.
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Details
Country:
FranceLanguage:
FrenchRelease Date:
16 August 1912 (France) See more »Also Known As:
Metamorphoses See more »Company Credits
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Technical Specs
Sound Mix:
SilentColor:
Black and WhiteAspect Ratio:
1.33 : 1
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By 1912 Segundo de Chomon, a Spanish filmmaker who worked for Pathe Freres from France, had ended his career at the french company and was now attempting to make his own films independently. His most active years had been 1905-1908, by 1909 he was ceasing production and by 1910 was almost done. Part of the reason of this was probably because the trick films and fairy-tales that had been popular during the earlier years of cinema were now becoming outdated. Thus, director had to pursue filmmaking elsewhere, attempting to start (without success) the short-lived Iberico Film Company. Considering by 1912 he was almost out of the picture, this one would thus be one of those few films released by the little-known studio.
"Metamorphoses" is another magic act by the director, this time involving various transformations as performed by an oddly-dressed woman (France Mathieu, who was probably related to the director's wife Julienne) who makes various objects turn into others, simply using a delicate flame and a few closeup shots to show the tricks. There is some stop-motion animation as well, something the director was known for and something Melies never really did, and the film is visually impressive in its effective use of visuals.
And what is it that makes the visuals effective? Closeups. Unlike what Méliès was doing all the way up to 1909, Chomón here goes for a much more elaborate style in his use of cutting close to the table first, then going to a medium closeup and then a closeup to display the illusions. (The end is an exception and mostly is just a lot of pretty girls posing around beautiful flowery sets). By 1912 Griffith had entirely discovered the usefulness of cutting and although Chomón had always been more innovative in that sense, he here takes it even further. It's not outstanding but the early visuals with the flame closeups are something new to look at from what we've seen before.