Dream of a Rarebit Fiend

This an inventive little number from Edwin S. Porter, film pioneer and director of the groundbreaking The Great Train Robbery who, after 15 or so years in the business, just seemed to fade away. This adaptation of a Winsor Mckay cartoon is wildly inventive for its time as it follows a gluttonous drunk home from a night on the town and eavesdrops on his dreams. Porter captures the giddy drunkenness of our hero by superimposing his antics over a speeded up panning shot and it's a technique that works incredibly well. He also shows us tiny little imps standing on the headboard of the poor guy's head and jabbing him with their pitchforks before the bed turns into a bucking bronco and flies out of the bedroom window to embark on a flight over the city. This is good stuff.

To fully appreciate an old film and its contribution to cinema, one has to be fully educated in the technology of the times it was made. Hence, the appreciation of Dream of a Rarebit Fiend, created in 1906, is a leap in special effects that even the wizard of film effects, George Melies, must have enjoyed seeing at the time of its release.

Others on the board have given a concise history of the brains behinds this project--Edwin Porter, the Edison Manufacturing Company premier director, teamed up with cartoonist Winsor McCay, he of Little Nemo comic strip and Dream of the Rarebit Fiend, to produce this 7-minute gem.

Comedian John "Jack" Brawn provides the pratfalls as he succumbs to an evenings' worth of nightmares after gorging on Welsh Rabit, a combination of melted cheese over toast. Porter's in-camera special effects forged new ground in trick photography that became imitated by others afterwards. His revolving film of backgrounds matted his foregrounds of Brawn and objects (like a light post and his bed) which served to mesmerize audiences when Rarebit first was released,

The movie was the most successful of Edisons' releases in 1906, where he sold almost 200 copies of Rabebit to nickelodeons and film exchanges that year, an almost unheard of number prints purchased in a single year up to that time.

Famous fantasy short with a moral: a man spends a night stuffing himself with food and drink in a restaurant; stumbling his way home, he sees the buildings 'dancing' around him and, on arriving, things only get worse. The bed starts to shake violently as if possessed and even throws itself, with the man still tucked in, through the window (the film's single funniest bit)! Flying around town a' la Scrooge, he's sure to have learnt his lesson by the next morning.

As far as I know, the only other Porter film I've watched is THE GREAT TRAIN ROBBERY (1903), celebrated for being the first Western; this one, then, contains a number of crude camera tricks in the contemporary style of Frenchman Georges Melies. Incidentally (and Michael Elliott is sure to raise an eyebrow or two at this!), in spite of their undeniable historical value, I can't bring myself to appreciate such primitive stuff other than as mere curiosities…

Let me start off by saying that I haven't seen the Melies movies from this period to compare it to. Given that caveat I must say I found this piece of film-making to be incredibly entertaining. On Image Entertainment's box-set of Unseen Cinema this short is included with its original soundtrack played by the Edison Military Band. This music must be the most crackpot, shamelessly joyful and subversive piece ever composed. I do not think the film would be the same without it.

I must say I found it very exhilarating to watch a man in a white suit and top hat spooning rarebit into his maw and down his face, slurping his porter or ale in the same mouthful. It's a glorious act of hedonism and reminds me of similar outrageous acts when I was a child (far too sensible now, sigh). For other commenters to think that this would not make him paralytic and hallucinatory is astonishing naivety. The way that he tries to hold onto a lamppost after leaving the restaurant whilst the whole world gyrates about him is an excellent portrayal of drunkenness unmatched in the judgmental and sober modern era.

Just when he thinks he's made it home safe and sound to bed (ah the respite of the divan!) the whole room starts dancing, poor chap, all of us drunks have fallen for this mirage of comfort. The voyage over the city in his bed is a bit odd for me, but doesn't dampen this excellent entertainment.

A man is having a bit too much of a good time out on the town – drinking and eating far too much. He stumbles home and goes to bed but it is clear to the audience that the effects of his drinking habits are far from being out of his system.

A simple film this one but one that is interesting for its place in cinema history. The title is the plot and the first few scenes of the film are really just there to get our character into bed and falling into a drunken deep sleep. The main thing the film wants to do is how many visual effects it can then produce. In this case it achieves this really well and sets up a memorable dream sequence that is imaginative and technically impressive. As with all films from this period, it is worth keeping it in the context of the period and what other things were being done with other films. With this in the mind the film is worth seeing because it is imaginative but more than that it is technically impressive at a time when cinema was just starting to develop.