| Georges Méliès | |
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Real Name |
Marie-Georges-Jean Méliès |
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Born |
December 8, 1861 |
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Died |
January 21, 1938 |
Origin[]
Georges Méliès was a French magician, actor, and film director. He led many technical and narrative developments in the early days of cinema, primarily in the fantasy and science fiction genres. Méliès rose to prominence creating "trick films" and became well known for his innovative use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted colour. He was also one of the first filmmakers to use storyboards in his work. His most important films include A Trip to the Moon (1902) and The Impossible Voyage (1904).
In 1900, Méliès made numerous films, including the 13-minute-long Joan of Arc. He also made The One-Man Band, in which Méliès continued to fine-tune his special effects by multiplying himself on camera to play seven instruments simultaneously. Another notable film was The Christmas Dream, which merged cinematic effects with traditional Christmas pantomime scenes.
In 1901, Méliès continued producing successful films and was at the peak of his popularity. His films that year included The Brahmin and the Butterfly, in which Méliès portrays a Brahmin who transforms a caterpillar into a beautiful woman with wings, but is himself turned into a caterpillar. He also made the féerie, Red Riding Hood and Blue Beard, both based on stories from Charles Perrault. In Blue Beard, Méliès plays the eponymous wife-murderer and co-stars with Jeanne d'Alcy and Bleuette Bernon. The film is an early example of parallel cross-cutting and match cuts of characters moving from one room to the next. The Edison Company's 1902 film Jack and the Beanstalk, directed by Edwin S. Porter, was considered a less successful American version of several Méliès films, particularly Blue Beard. That year, Méliès also made Off to Bloomingdale Asylum, a blackface burlesque that includes four white bus passengers transforming into one large black passenger, who is then shot by the bus driver.
In 1902, Méliès began to experiment with camera movement to create the illusion of a character changing size. He achieved this effect by "advancing the camera forward" on a pulley-drawn chair system, which was perfected to allow the camera operator to accurately adjust focus and for the actor to adjust his or her position in the frame as needed. This effect began with The Devil and the Statue, in which Méliès plays Satan and grows to the size of a giant to terrorize William Shakespeare's Juliet, but then shrinks when the Virgin Mary comes to the rescue of the damsel in distress. This effect was used again in The Man with the Rubber Head, in which Méliès plays a scientist who expands his own head to enormous proportions. This experiment, along with the others that he had perfected over the years, was used in his most well-known and beloved film later that year.
The scene in which the spaceship hits the Moon's eye became an iconic image in cinematic history. In May 1902, Méliès made the film A Trip to the Moon which was loosely based on Jules Verne's 1865 novel From the Earth to the Moon, its 1870 sequel Around the Moon, and H. G. Wells' 1901 novel The First Men in the Moon. In the film, Méliès stars as Professor Barbenfouillis, a character similar to the astronomer he played in The Astronomer's Dream in 1898. Professor Barbenfouillis is the President of the Astronomer's Club and proposes an expedition to the Moon. A space vehicle in the form of a large artillery shell is built in his laboratory, and he uses it to launch six men (including himself) on a voyage to the Moon. The vehicle is shot out of a large cannon into space and hits the Man in the Moon in the eye. The group explores the Moon's surface before going to sleep. As they dream, they are observed by the Moon goddess Phoebe, played by Bleuette Bernon, who causes it to snow. Later, while underground, they are attacked and captured by a group of Moon aliens, played by acrobats from the Folies Bergère. Taken before the alien king, they manage to escape and are chased back to their spaceship. Then, with the aid of a rope attached to the spaceship, the men, along with an alien, fall from the Moon back to Earth, landing in the ocean (where a superimposed fish tank creates the illusion of the deep ocean). Eventually the spaceship is towed ashore and the returning adventurers are celebrated by the townspeople. At 14 minutes, it was Méliès' longest film up to that date and cost 10,000 francs to produce.
The film was an enormous success in France and around the world, and Méliès sold both black-and-white and hand-coloured versions to exhibitors. The film made Méliès famous in the United States, where such producers as Thomas Edison, Siegmund Lubin and William Selig had produced illegal copies and made large amounts of money from them. This copyright violation caused Méliès to open a Star Films office in New York City, with his brother Gaston Méliès in charge. Gaston had been unsuccessful in the shoe business and agreed to join his more successful brother in the film industry. He travelled to New York in November 1902 and discovered the extent of the infringement in the U.S., such as Biograph having paid royalties on Méliès' film to film promoter Charles Urban. When Gaston opened the branch office in New York, it included a charter that partly read "In opening a factory and office in New York we are prepared and determined energetically to pursue all counterfeiters and pirates. We will not speak twice, we will act!" Gaston was assisted in the U.S. by Lucien Reulos, who was the husband of Gaston's sister-in-law, Louise de Mirmont.
Méliès' great success in 1902 continued with his three other major productions of that year. In The Coronation of Edward VII, Méliès reenacts the real-life coronation of Edward VII. The film was shot prior to the actual event (since he was denied access to the coronation) and was commissioned by Charles Urban, head of the Warwick Trading Company and the Star Films representative in London. The film was ready to be released on the day of the coronation; however, the event was postponed for six weeks due to Edward's health. This allowed Méliès to add actual footage of the carriage procession in the film. The film was financially successful and Edward VII himself was said to have enjoyed it. Next, Méliès made the féeries Gulliver's Travels Among the Lilliputians and the Giants, based on the novel by Jonathan Swift, and Robinson Crusoe, based on the novel by Daniel Defoe. In 1903, Méliès made The Kingdom of the Fairies, which film critic Jean Mitry has called "undoubtedly Méliès's best film, and in any case the most intensely poetic". The Los Angeles Times called the film "an interesting exhibit of the limits to which moving picture making can be carried in the hands of experts equipped with time and money to carry out their devices". Prints of the film survive in the film archives of the British Film Institute and the U.S. Library of Congress.
Méliès continued the year by perfecting many of his camera effects, such as more fast-paced transformations in Ten Ladies in One Umbrella and the seven superimpositions that he used in The Melomaniac. He finished the year with The Damnation of Faust, based on the Faust legend. The film is loosely based on an opera by Hector Berlioz, but it pays less attention to the story and more to the special effects that represent a tour of hell. These include underground gardens, walls of fire and walls of water. In 1904, he made the sequel Faust and Marguerite. This time, the film was based on an opera by Charles Gounod. Méliès also created a combined version of the two films that aligned with the main ariasof the operas. He continued making "high art" films later in 1904 such as The Barber of Seville. These films were popular with both audiences and critics at the time of their release, and helped Méliès establish more prestige.
His major production of 1904 was The Impossible Voyage, a film similar to A Trip to the Moon about an expedition around the world, into the oceans and even to the Sun. In the film, Méliès plays Engineer Mabouloff of the Institute of Incoherent Geography, who is similar to the previous Professor Barbenfouillis. Mabouloff leads a group on the trip on the many Automobouloffs, the vehicles that they use of their travels. As the men are traveling up to the highest peaks of the Alps, their vehicle continues moving upwards and takes them unexpectedly to the Sun, which has a face much like the man in the moon and swallows the vehicle. Eventually the men use a submarineto launch back to planet Earth and into the ocean. They are greeted back home by adoring admirers. The film was 24 minutes long and was a success. Film critic Lewis Jacobs has said that "the film expressed all of Méliès talents ... The complexity of his tricks, his resourcefulness with mechanical contrivances, the imaginativeness of the settings and the sumptuous tableaux made the film a masterpiece for its day." Later in 1904, Folies Bergère director Victor de Cottens invited Méliès to create a special effects film to be included in his theatre's revue. The result was An Adventurous Automobile Trip, a satire of Leopold II of Belgium. The film was screened at the Folies Bergère before Méliès began to sell it as a Star Films production. In late 1904, Thomas Edison sued the American production company Paley & Steiner over copyright infringement for films that had stories, characters and even shot set-ups exactly like films that Edison had made. Edison also included Pathé Frères, Eberhard Schneider and Star Films in this lawsuit for unspecified reasons. Paley & Steiner settled with Edison out of court (and were later bought out by Edison) and the case never went to trial.
In 1905, Victor de Cottens asked Méliès to collaborate with him on The Merry Deeds of Satan, a theatrical revue for the Théâtre du Châtelet. Méliès contributed two short films for the performances, Le Voyage dans l'espace (The Space Trip) and Le Cyclone (The Cyclone), and co-wrote the scenario with de Cottons for the entire revue. 1905 was also the 100th birthday of Jean Eugène Robert-Houdin, and the Théâtre Robert-Houdin created a special celebration performance, including Méliès' first new stage trick in several years, Les Phénomènes du Spiritisme. At the same time, he was again remodeling and expanding his studio at Montreuil by installing electric lights, adding a second stage and buying costumes from other sources. Méliès's films for 1905 include the adventure The Palace of the Arabian Nights and the féerie, Rip's Dream, based on the Rip Van Winkle legend and the opera by Robert Planquette. In 1906, his output included an updated, comedic adaptation of the Faust legend The Merry Frolics of Satan and The Witch. The féerie style that Méliès was best known began to lose popularity, and he began to make films in other genres, such as crime films and family films. In the U.S., Gaston Méliès had to reduce the sale prices of three of Méliès' earlier, popular féeries, Cinderella, Bluebeard and Robinson Crusoe. By the end of 1905, Gaston had cut the prices of all films on the Star Films catalog by 20%, which did improve sales.
Public Domain Works[]
All works created by Georges Méliès published before January 1, 1931 are in the public domain in the US.
Some notable works are listed below:
Public Domain Films[]
- The House of the Devil (1896)
- The Haunted Castle (1897) - Remake of The House of the Devil
- A Nightmare (1896)
- The Laboratory of Mephistopheles (1897)
- Pygmalion and Galatea (1898)
- Adventures of William Tell (1898)
- The Astronomer's Dream (1898)
- Robbing Cleopatra's Tomb (lost film, 1899)
- The Pillar of Fire (1899)
- Christ Walking on the Water (lost film, 1899)
- Cinderella (1899)
- Joan of Arc (1900)
- Bluebeard (1901)
- A Trip to the Moon (1902)
- The Impossible Voyage (1904)