Ensofter Overrated and overhyped

FeistyUpper If you don't like this, we can't be friends.

Acensbart Excellent but underrated film

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

des-47 It's tempting to see the two great French pioneer film makers, the Lumière brothers and Georges Méliès, as two opposing poles of the cinema — the documentary depiction of reality set against the drive to enhance reality, and show things that previously couldn't be shown. But this is over-simplistic. First it underestimates the extent to which, even in their earliest films, the Lumières were taking aesthetic decisions about exactly which slices of reality to depict, and how — consider the camera placement and timing, for example, in L'arrivée d'un train à La Ciotat. Not long afterwards, they took to re-enacting events they weren't able to film for real.Meanwhile Méliès, for all that he seemed to take a more forward looking and adventurous approach to the possibilities of cinema, was deeply rooted in a much older tradition. He was a stage magician and illusionist, owner of Paris's Théâtre Robert-Houdin, an heir to the staged spectacle, the Fantasmagorie and the magic lantern show. Attending the Lumières' first Paris exhibition in 1895, he immediately saw the potential of this technology in achieving illusions he'd already been pursuing by other means. The brothers refused his offer to buy one of their machines, but within a year he bought a projector from Robert Paul in London and built a camera himself.Méliès' tradition is explicit in this film, which is staged as if in a theatre, with the man himself as the magician performing to an imaginary audience, and even taking a bow at the end. But the illusion presented would be impossible to achieve so convincingly without film. Méliès several times removes his own head and places it on a table, then regrows a new one, until he's surrounded by three detached heads, all jabbering away animatedly at each other to prove how alive they are. He attempts to wrangle them into singing together, but soon gives up in frustration and extinguishes two of them with a blow from his banjo.It's funny and visually striking but also poignant — the film externalises our experience of conflicting inner dialogues. How much we've sometimes wished to shut up some of our own jabbering heads with the swat of a banjo.A wiry, balding man with a naturally comical appearance, Méliès regularly performed in his own films, often decomposing and distorting the image of his own body, and particularly his head. He's always worth watching and this is a particularly fine example of his eccentric, athletic and manically energetic style — you can believe he's capable of bullying reality into new shapes by force of gesticulation. Like many of the pioneers, he never reaped the just rewards of his foresight, and it's rather saddening to see his energy here and then remember that he ended his career scraping a living selling sweets and toys from a kiosk at Gare Montparnasse.

Horst in Translation ([email protected]) Georges Méliès proves once again, he's not only one of the most ground breaking filmmakers of all time, but also a pretty good magician.Basically, he's taking off head after head in this one and puts them on a table. And as if the audience wasn't entertained enough already by his Cerberus performance, he puts out a lute and plays some music. The three heads wonder what's going on and Méliès obviously not amused by their reactions smashes one after the other. Well.. you should have given them hands too if you wanted them to clap for you.In any case, it's a convincing performances and the master gesturing like a mad man throughout add nice entertainment value. For his next show, maybe create three torsos in the end?

Chrissie Georges Melies was a stage magician before turning to film, so it's no surprise that he plays a stage magician. But in his films, Georges does what no stage magician could possibly do.In "Un homme de tete", Melies repeatedly takes his head off and grows a new one three times, then gets out a banjo and sings a quartet with bodyless selves. The fluidity and aplomb with which he performs is nothing short of remarkable.While many early films are primarily interesting for their historical value, Melies' transcend mere museum pieces. Like Buster Keaton's silent films, they are timeless and retain their charm -- in this case, well over 100 years later.

MartinHafer Okay, this is NOT a great film compared to later films--even the later films of this film's creator, Méliès (who created many, many magical films such as Le Voyage Dans le Lune). But, and this is the important part, for 1898, the film is without peer for its brilliant use of camera tricks. Like ALL other films of the era, this is a short film--lasting between one and two minutes (depending on the frame rate at which it is played), but in all other respects it is different. Showing his love for the absurd and fantastic, Méliès features a performer who pulls off his head and places it on a table--where it sings away. Then, a new head re-appears and he does it again until there are four heads in total!! It is amazing for its time and not to be missed by film historians.If you want to see this film online, go to Google and type in "Méliès" and then click the video button for a long list of his films that are viewable without special software.