I viewed the Library of Congress print of this George Méliès 'trick' film. As was often the case, Méliès himself plays the conjuror who presides over the magical proceedings.
We see a backdrop with a French inscription which translates as 'Galatea Theatre'. Apparently Méliès expected audiences in 1903 to be literate enough to recognise this as a reference to the Greek myth of Pygmalion. Wielding an umbrella as his magic wand, Méliès uses his bumbershoot to materialise ten different ma'mselles, each of whom is dressed to symbolise a different nationality. The ladies then strike a tableau, the scenery and their costumes transforming to suggest ancient Greece. Méliès magically morphs their clothing into garb appropriate for modern ladies of 1903 vintage: he bows, and exits.
In 1903, and for some years thereafter, it was still popular for stage performers to offer 'tableaux' or 'living statues', in which the actors would freeze in position to illustrate some dramatic situation, while the audience applauded. We get an example of that here. I find Méliès's films more significant for what they reveal about his own time (which is genuine but unintentional) than for their magical or supernatural events (which are intended as the point of his films, but which are of course fake).
The ma'mselles are quite pretty in their cozzies, and any student of the history of theatrical costumes would do well to watch this film. My rating: 7 out of 10.
We see a backdrop with a French inscription which translates as 'Galatea Theatre'. Apparently Méliès expected audiences in 1903 to be literate enough to recognise this as a reference to the Greek myth of Pygmalion. Wielding an umbrella as his magic wand, Méliès uses his bumbershoot to materialise ten different ma'mselles, each of whom is dressed to symbolise a different nationality. The ladies then strike a tableau, the scenery and their costumes transforming to suggest ancient Greece. Méliès magically morphs their clothing into garb appropriate for modern ladies of 1903 vintage: he bows, and exits.
In 1903, and for some years thereafter, it was still popular for stage performers to offer 'tableaux' or 'living statues', in which the actors would freeze in position to illustrate some dramatic situation, while the audience applauded. We get an example of that here. I find Méliès's films more significant for what they reveal about his own time (which is genuine but unintentional) than for their magical or supernatural events (which are intended as the point of his films, but which are of course fake).
The ma'mselles are quite pretty in their cozzies, and any student of the history of theatrical costumes would do well to watch this film. My rating: 7 out of 10.
