Ali Baba and the Forty Thieves

The evolution of cinema 29/520year 1902: 1/4

Like I mentioned before In one of my previous reviews– these set decors in French short films from the early 1900s are genuinely out of this world. They’re so dreamlike and hypnotizing that It makes you feel you’re stuck In a never ending dream– a dream you don’t want to end. And this was no different. And not only that– for the first time in this challenge we see something of color– vibrant colors that turn the world completely alive. And I don’t know what year this takes place in, or where it takes place but it complete makes me feel like some wealthy farao– living a life that many generations after would study about.

The evolution of cinema 29/520year 1902: 1/4

Like I mentioned before In one of my previous reviews– these set decors in French short films from the early 1900s are genuinely out of this world. They’re so dreamlike and hypnotizing that It makes you feel you’re stuck In a never ending dream– a dream you don’t want to end. And this was no different. And not only that– for the first time in this challenge we see something of color– vibrant colors that turn the world completely alive. And I don’t know what year this takes place in, or where it takes place but it complete makes me feel like some wealthy farao– living a life that many generations after would study about.

30/100

The story here is all surface: elaborate costumes, fake rocks, endless dancing, and frantic entrances and exits. But as a story, it’s incoherent. Characters show up, disappear, reappear, and you’re left trying to piece together what’s happening like it’s a fever dream staged by poorly.

The visuals are rich, sure. Méliès always knew how to build a set. But there’s no rhythm to how the scenes unfold. It’s just: event, spectacle, vanish, repeat. No dramatic tension. No escalation. No weight.

30/100

The story here is all surface: elaborate costumes, fake rocks, endless dancing, and frantic entrances and exits. But as a story, it’s incoherent. Characters show up, disappear, reappear, and you’re left trying to piece together what’s happening like it’s a fever dream staged by poorly.

The visuals are rich, sure. Méliès always knew how to build a set. But there’s no rhythm to how the scenes unfold. It’s just: event, spectacle, vanish, repeat. No dramatic tension. No escalation. No weight.

I feel like I have the same thing to say about almost all of the films I watch from this era of cinema. The sets are wonderful, the costumes are great and the music is nice, but I have no clue what’s going on.

I feel like I have the same thing to say about almost all of the films I watch from this era of cinema. The sets are wonderful, the costumes are great and the music is nice, but I have no clue what’s going on.