Often cited as the first example of a film in the Science Fiction genre, Le Voyage dans la Lune (1902) (English: A Trip to the Moon), is nothing short of impressive considering the elementary state of film-making at the beginning of its history. Based upon then contemporary Science-Fiction novels: From the Earth to the Moon (1865) and First Men on the Moon (1901) by authors Jules Verne and H.G. Wells, Le Voyage dans la Lune found success by combining elements of parody and pastiche with a firm narrative not seen before in film. Director Georges Méliès, who also must take credit as writer, producer, production designer/art director and star of the film, was a former magician and illusionist who was no stranger to the entertainment business. After a brief spell recording what the Lumiere brothers referred to as "actualités," (non-narrative, documentary-like shorts that captured the everyday activities of contemporary society) Méliès applied his craft to the camera, thus introducing theatricality to the art of film-making. As well as advancing techniques in areas such as production design, special effects, and early editing, the film pioneer took cinema to new heights when he recognized the storytelling ability of the medium.
Indeed, Le Voyage dans la Lune illustrates in 8-14 minutes (depending on the fps) what it would take a modern film of the same plot and premise an hour and a half to show. The film begins on a rather prestigious yet playful note when it opens on a conference of astronomers, whose deep and often physical discussion involves traveling to the moon. When a colleague proposes a cylindrical capsule be built and shot out of a cannon directed at the face of the moon, all but one scholar readily agrees. After a bout of arguing, which results in books being thrown at the dissenter's head, the astronomers continue with their plans, seeing out the construction of both craft and cannon. Upon take-off, the bullet-shaped projectile makes a rather short journey before crash landing into the amused moon's eye. Once grounded, the enthusiastic astronomers (now accomplished astronauts), set out to explore the extraterrestrial terrain, where they encounter the rather agile natives, the Selenites.
To complement this inspired narrative, Méliès created an intricate production design, complete with constructed sets, complimentary props and painted backdrops. Adding to the illusion is the elaborate, but satirical costumes, which include the long flowing robes and pointy hats of the astronomers (more like a wizard's attire than a scholarly scientist's), and the provocatively jazzy outfits of the female "manservants," who look more like line of chorus girls than a group of eager assistants. All this combines to create delightfully dreamlike locations, whose inhabitants are simple, but comical characters that heighten the viewer's interest and make the movie absolutely enjoyable to watch.
Although all action unfolds before an immobile camera on sets that act as "stages," the film itself is anything but stagnant. The various special effects displayed more than make up for this limitation. Using such techniques as stop-motion, animation, multiple exposures, superimposition, and substitution editing, Méliès created an impressive array of surprisingly sophisticated and seamless "effects" to awe the audience with. It might very well be that Méliès, being the magician he was, wrote the narrative around the visual artifices, emphasizing film's capacity to "trick" the viewer by creating alternate realities. Either way, Le Voyage dans la Lune is a spectacular practice in special effects, with a simple, but engaging story and fantastical mise-en-scene that adds up to an extremely entertaining experience.
Recommended to both Science Fiction and Fantasy film enthusiasts who wish to see the origins of their beloved genre in film. I also recommend it to anyone who considers themselves connoisseurs of film.
Indeed, Le Voyage dans la Lune illustrates in 8-14 minutes (depending on the fps) what it would take a modern film of the same plot and premise an hour and a half to show. The film begins on a rather prestigious yet playful note when it opens on a conference of astronomers, whose deep and often physical discussion involves traveling to the moon. When a colleague proposes a cylindrical capsule be built and shot out of a cannon directed at the face of the moon, all but one scholar readily agrees. After a bout of arguing, which results in books being thrown at the dissenter's head, the astronomers continue with their plans, seeing out the construction of both craft and cannon. Upon take-off, the bullet-shaped projectile makes a rather short journey before crash landing into the amused moon's eye. Once grounded, the enthusiastic astronomers (now accomplished astronauts), set out to explore the extraterrestrial terrain, where they encounter the rather agile natives, the Selenites.
To complement this inspired narrative, Méliès created an intricate production design, complete with constructed sets, complimentary props and painted backdrops. Adding to the illusion is the elaborate, but satirical costumes, which include the long flowing robes and pointy hats of the astronomers (more like a wizard's attire than a scholarly scientist's), and the provocatively jazzy outfits of the female "manservants," who look more like line of chorus girls than a group of eager assistants. All this combines to create delightfully dreamlike locations, whose inhabitants are simple, but comical characters that heighten the viewer's interest and make the movie absolutely enjoyable to watch.
Although all action unfolds before an immobile camera on sets that act as "stages," the film itself is anything but stagnant. The various special effects displayed more than make up for this limitation. Using such techniques as stop-motion, animation, multiple exposures, superimposition, and substitution editing, Méliès created an impressive array of surprisingly sophisticated and seamless "effects" to awe the audience with. It might very well be that Méliès, being the magician he was, wrote the narrative around the visual artifices, emphasizing film's capacity to "trick" the viewer by creating alternate realities. Either way, Le Voyage dans la Lune is a spectacular practice in special effects, with a simple, but engaging story and fantastical mise-en-scene that adds up to an extremely entertaining experience.
Recommended to both Science Fiction and Fantasy film enthusiasts who wish to see the origins of their beloved genre in film. I also recommend it to anyone who considers themselves connoisseurs of film.
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