The Living Playing Cards

Melies does some excellent work here. First of all, his work with the magical cards is nice. The quality of the film makes us see the great one and his presence so much better than the past. He doe multiple tricks with cards turning into people and vice-versa. I really like his finale when he, himself, goes through the big card and appears in another place. But there is even more.

Considering that Georges Méliès was a stage magician before he took an interest in cinema, it's no surprise that he liked to incorporate countless little "magic acts" into his films. As a rule, his narrative-driven films {such as 'A Trip to the Moon (1902)' and 'The Impossible Voyage (1904)'} are by far his most impressive works, not only for their revolutionary storytelling structures, but also for their seemingly-boundless imagination and creativity. Nevertheless, further genius is to be found in Méliès' shorter "gimmick films," which translated the magician's tricks to the cinema screen and proved crucial in the development of visual effects. Too often, early filmmakers like Edison and the Lumière brothers employed this new technology for purely documentary purposes, presenting audiences with brief snippets of everyday life. However, this French "Cinemagician" took a vastly different outlook on the possibilities made feasible by the humble cinematograph: he made the impossible happen before our very eyes.

'The Living Playing Cards (1904),' along with the delightfully-whimsical 'The Four Troublesome Heads (1898),' is one of Méliès' most inventive special-effects showcases. The film starts simply enough, with Méliès – our host, as always – stepping out onto the stage and showing the audience a playing card. It is too small for anybody to decipher, so, with a quick slide of the wrist, the card is suddenly substantially larger. He then manages to transfer the card image onto a large, blank sheet of paper, and then the Queen on the life-sized card is magically transformed into a living, breathing queen who emerges from the paper and walks around the stage. These transformations – some more refined than others – employ the use of quick cuts, multiple dissolves and cross-fades, techniques with which Méliès had been experimenting for many years. The two-minute film is presented in the style of a traditional magic act, presenting contemporary audiences with a format with which they were familiar, but somewhat furtively offering the magician a greater flexibility with his tricks.

The most entertaining part of the film takes place at the very end, when Méliès accidentally transforms the King on the playing card into a real-life King, who bursts threateningly from his sheet of paper. Terrified, Méliès flees the stage in fear. Just as he does this, the King throws off his costume to reveal that he is Méliès himself! The first time I saw this, I was genuinely taken aback by the unexpected reveal, and it took several closer inspections to deduce how the trick was actually performed; from what I was able to tell, the director substituted himself into the King's clothes at the very moment that the costume were cast aside. Such an act demonstrates very effectively the advantages enjoyed by Méliès once he had adopted this revolutionary new technology, and, ever since, magicians have struggled vainly to keep up with the advancements presented by the cinematic medium. If magicians are now a dying breed, they can blame their unemployment on clever little films like this one.

"The Living Playing Cards" (_Les Cartes vivantes_) is what cinema is all about -- *magic!* Méliès himself plays The Magician, and he is truly amazing as he performs card tricks on stage, acting well as he asks the audience if a card he has drawn is "our" card, then reacts with disappointment as he realizes it is not, but then recovering with aplomb as he attempts to make up for his error by outdoing himself with each new card trick, culminating in his not just making a life-sized card come to life, but finally ... well, that would be telling!

Méliès once wrote that a film director must be prepared to work not only as the director, but as the writer, the camera operator, and an actor as well, if necessary. He was all of those things and did them all extremely well. Now if only I could figure out how he pulled off that last card trick....

Living Playing Cards, The (1905)

*** (out of 4)

aka Les Cartes vivantes

Extremely entertaining and fun film from the French master has him playing (what else) a magician who puts a plane piece of paper on a stool and magically turns it into cards. He then takes the trick even further by having the Queen and King walk off the paper. This here is certainly one of the director's most known films as the tricks are pure magic even though it's obvious to see how they're done. What makes this film work so well is the fact that Melies, the actor, really is charming and sells everything we're seeing. He has that certain grace about him that draws you to whatever he's doing and whoever is playing the King is also a real hoot. The final trick in the film is priceless and makes this one of the more memorable films from the director.

While the ideas are mostly simple ones, this film packs several skillfully done visual effects into a short running time. Like a number of Méliès features, it starts off with a stage magician doing tricks, here using playing cards, and then gets more involved as it goes along. It works pretty well because of a lot of good camera tricks, almost all of which are done with care. Many of the visual effects are nearly seamless, and are fairly impressive given the limited resources available at the time. There isn't anything really spectacular in this one, and many of the features that Méliès made are more complex and have more action than this does, but this little movie scores pretty well in terms of its craftsmanship.