Run Time: 12 minutes. Studio: Pathé Frères. Director: Albert Capellani. Writers: Albert Capellani, André Heuzé. Main Cast: Georges Vinter. Cinematographer: Segundo de Chomón. Production Design: Hugues Laurent.
One of the most popular types of films from the first couple decades of cinema was the trick film. Unlike today when audiences are very movie-savvy and well aware of how special effects in their favorite movies were done, at this time cinema was new to many people. Because of this trick films were in many ways the cinematic equivalent of a magic show. Audiences knew what they were seeing was a trick but it not knowing exactly how it was done, it seemed a truly impressive feat.
Because of the short runtime, this film was a very simplified and basic retelling of the Aladdin story. The film shows Aladdin falling for the daughter of the sultan, being led by a mysterious scorer to where the magic lamp is held, getting the lamp, having his wishes come true, recovering the lamp and the princess after the scorer steals the lamp and kidnaps the princess and living happily ever after.
This film may provide a very simplified version of this story, but it is effective. Part of the reason for this is that unlike many of the simplified versions of classic literature that populated cinema screens at this time period, this story is still very familiar to the average movie fan today. Because of this, it remains easy to follow and enjoy. However, the focus of this film is on the visuals, and they hold up very well. Even 109 years after its release, this short is still a visual treat. This film is an early example of a color film. The color is done through Pathécolor, a stencil-based film tinting process that was applied directly to the actual film. Though this process is not as realistic looking like today's audience is used to you, it works perfectly for this type of fantasy film. In fact, it gives this short a storybook-like feel that enhances the charming feel of this simple short. The special effects may be basic, but they work quite well. We may no longer wonder how they were accomplished but they still hold up and are never laughable by today's standards.
Before even entering into movies, director Albert Capellani already had an impressive resume. He had studied at the Conservatoire de Paris under French actor (and future film director) Charles le Bargy. Some of his early-stage career was spent performing in plays directed by stage luminaire and future important movie director, André Antoine (sometimes called "the father of modern mise en scène in France"). He would graduate to direct many stage productions himself. In 1903 he was made the head of the famous Paris music hall, the Alhambra. Unlike many of those working on stage at this time, Albert Capellani was fascinated by movies seeing great possibilities in this emerging art form. Much of his early cinema work would consist of two vastly different types of films. They would include very realistic slice of life dramas and fairy-tale like fantasies, like this film.
Also important to this film is the cinematographer, Segundo de Chomón, who is said to have played a major role in this film's special effects. He would soon direct some of France's most popular trick films including Satán se divierte (1907), Hôtel électrique (1908) and a maison ensorcelée (1908). He would also go on to work on the special effects for such famous silent movie epics as Cabiria (1914) and Napoléon (1927).
For anyone interested in watching this film, it can be watched below on YouTube.
Resources Used
http://www.frenchfilms.org/biography/albert-capellani.html
https://lantern.mediahist.org/
One of the most popular types of films from the first couple decades of cinema was the trick film. Unlike today when audiences are very movie-savvy and well aware of how special effects in their favorite movies were done, at this time cinema was new to many people. Because of this trick films were in many ways the cinematic equivalent of a magic show. Audiences knew what they were seeing was a trick but it not knowing exactly how it was done, it seemed a truly impressive feat.
Because of the short runtime, this film was a very simplified and basic retelling of the Aladdin story. The film shows Aladdin falling for the daughter of the sultan, being led by a mysterious scorer to where the magic lamp is held, getting the lamp, having his wishes come true, recovering the lamp and the princess after the scorer steals the lamp and kidnaps the princess and living happily ever after.
This film may provide a very simplified version of this story, but it is effective. Part of the reason for this is that unlike many of the simplified versions of classic literature that populated cinema screens at this time period, this story is still very familiar to the average movie fan today. Because of this, it remains easy to follow and enjoy. However, the focus of this film is on the visuals, and they hold up very well. Even 109 years after its release, this short is still a visual treat. This film is an early example of a color film. The color is done through Pathécolor, a stencil-based film tinting process that was applied directly to the actual film. Though this process is not as realistic looking like today's audience is used to you, it works perfectly for this type of fantasy film. In fact, it gives this short a storybook-like feel that enhances the charming feel of this simple short. The special effects may be basic, but they work quite well. We may no longer wonder how they were accomplished but they still hold up and are never laughable by today's standards.
Before even entering into movies, director Albert Capellani already had an impressive resume. He had studied at the Conservatoire de Paris under French actor (and future film director) Charles le Bargy. Some of his early-stage career was spent performing in plays directed by stage luminaire and future important movie director, André Antoine (sometimes called "the father of modern mise en scène in France"). He would graduate to direct many stage productions himself. In 1903 he was made the head of the famous Paris music hall, the Alhambra. Unlike many of those working on stage at this time, Albert Capellani was fascinated by movies seeing great possibilities in this emerging art form. Much of his early cinema work would consist of two vastly different types of films. They would include very realistic slice of life dramas and fairy-tale like fantasies, like this film.
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| Who's Who on the Screen, 1920 |
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| Motion Picture News, 1919 |
Also important to this film is the cinematographer, Segundo de Chomón, who is said to have played a major role in this film's special effects. He would soon direct some of France's most popular trick films including Satán se divierte (1907), Hôtel électrique (1908) and a maison ensorcelée (1908). He would also go on to work on the special effects for such famous silent movie epics as Cabiria (1914) and Napoléon (1927).
For anyone interested in watching this film, it can be watched below on YouTube.
Resources Used
http://www.frenchfilms.org/biography/albert-capellani.html
https://lantern.mediahist.org/
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