Aboard the futuristic flying machine of his own invention, Professor Mabouloff and his team of intercultural explorers set off on yet another impossible expedition to North Pole's vast landscapes. What wonders await the bold adventurers?
The Bourrichon Family is in debt and must go on a journey to escape their creditors. But these creditors are persistent and pursue the family wherever they go, until the family must finally... See full summary »
In this hand-colored short, a magician and his assistant do a series of magic tricks, including making potted plants appear, among others. Melies played the magician, and the actor Manuel played his assistant.
Based on an early 13th century myth, this short film tells the story of a Jew who is forced to walk throughout eternity having refused water to Christ on his way to Calvary. He falls asleep... See full summary »
Two thieves, Robert Macaire and Bertrand, are eating at an outdoor restaurant, when they find themselves left alone. So, spying their chance, they make off with everything on the table. The... See full summary »
A scientist pours water into a tub. Flames rise up, then the scientist takes out some dresses, which are draped upon statues. The statues change into a bevy of dancing girls who perform a dance routine.
"The Knight of the Snow" is one of the last films Georges Méliès made. By now, he was under contract for his former rival Pathé, where he made a few of his most-lavish productions, including this one. Here, Méliès performed in front of the camera as the Devil, for what I assume was the last time--a role he played numerous times throughout his oeuvre, including in "The Devil in the Convent" (1899), "The Infernal Cake-Walk", "The Infernal Cauldron", "The Damnation of Faust" (all three from 1903), "Faust and Marguerite" (1904), "The Merry Frolics of Satan" (1906) and "Satan in Prison" (1907). His incarnation of Satan this time is a sprightly antagonist who kidnaps a princess by locking her in a cage and taking off through the sky in a dragon-pulled carriage. Even after the princess has been rescued by the hero, the prince of darkness gets the last laugh by "rescuing" his villainous pawn from being hung by men dressed like monks with Klansmen hoods and taking him down the trap door, to what one assumes is Hell.
An interesting aspect of these later Méliès films is his adoption of some cinematic techniques that he had shunned earlier in his career. One sequence seems to have some scene dissection with a POV shot as the Knight peers through a telescope at the dragon carriage. And there's a panning tracking shot of the knight as he crawls through a cave to rescue the princess from a dungeon. Otherwise, there are plenty of the usual Méliès tropes: theatricality with the cinematically-edited special effects, the fairy guiding the hero, the journey structure and dancing girls.
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