The devil’s mansion

The Manor of the Devil is a short French fantasy film, written and directed in 1896 by Georges Méliès .

Synopsis

The scene is in a castle. A giant bat arrives and turns into Mephistopheles. This one shows a big cauldron and a hunchback monster. From this cauldron, he brings up a woman and all kinds of demonic creatures. Then Mephistopheles intends to come and make everything disappear, including him. Two men (probably explorers) arrive in the room and begin to talk. The hunchbacked monster appears, holding a fork. He is invisible to them and plays tricks on them. One of the men gets scared and runs away. The other tries to sit, but his seat moves to the other side of the room. He tries again, and again, in vain, and this time, a skeleton appears on the seat. The man strikes him with his sword, the skeleton turns into a bat. He grabs himself but she becomes …

Mephistopheles, who makes the hunchback monster appear, confides his coat to him and makes them disappear. His opponent tries to escape, ghosts block his way, he falls, the ghosts disappear. Once the man is raised, Mephistopheles returns the woman out of the cauldron. The explorer succumbs to his charm. When he wants to kiss her hand, she turns into a horrible witch. He attacks it but four other creatures appear. The second man joins the first but he is as mad as his companion and ends up jumping from the balcony. The witches disappear. Mephistopheles prevents the survivor from escaping, who seizes a cross which he threatens Mephistopheles, finally defeated. His opponent tries to escape, ghosts block his way, he falls, the ghosts disappear. Once the man is raised, Mephistopheles returns the woman out of the cauldron. The explorer succumbs to his charm. When he wants to kiss her hand, she turns into a horrible witch. He attacks it but four other creatures appear. The second man joins the first but he is as mad as his companion and ends up jumping from the balcony. The witches disappear. Mephistopheles prevents the survivor from escaping, who seizes a cross which he threatens Mephistopheles, finally defeated. His opponent tries to escape, ghosts block his way, he falls, the ghosts disappear. Once the man is raised, Mephistopheles returns the woman out of the cauldron. The explorer succumbs to his charm. When he wants to kiss her hand, she turns into a horrible witch. He attacks it but four other creatures appear. The second man joins the first but he is as mad as his companion and ends up jumping from the balcony. The witches disappear. Mephistopheles prevents the survivor from escaping, who seizes a cross which he threatens Mephistopheles, finally defeated. When he wants to kiss her hand, she turns into a horrible witch. He attacks it but four other creatures appear. The second man joins the first but he is as mad as his companion and ends up jumping from the balcony. The witches disappear. Mephistopheles prevents the survivor from escaping, who seizes a cross which he threatens Mephistopheles, finally defeated. When he wants to kiss her hand, she turns into a horrible witch. He attacks it but four other creatures appear. The second man joins the first but he is as mad as his companion and ends up jumping from the balcony. The witches disappear. Mephistopheles prevents the survivor from escaping, who seizes a cross which he threatens Mephistopheles, finally defeated.

Technical sheet

  • French Original title: The Haunted Castle ( The Devil’s Castle , The Haunted Castle , Manor of the Devil or Devil’s Manor in Anglo-Saxon version of O Solar do Diabo in Portuguese, Az ördög kastélya Hungarian, Rezydencja diabla Polish, Ukleti zamak in Serbian, or Замок дьявола in Russian)
  • Scenario, production: Georges Méliès
  • Production: Star Film
  • Filming location: Montreuil, France
  • Duration: 2 minutes
  • Footage: 59.44 meters
  • Format: 35mm to 2 sets of 4 Edison perforations, color (hand colored) – mute
  • Released: France 1896
Final scene. Photogram from the film

Distribution

  • Jeanne d’Alcy : the woman
  • Georges Méliès : Mephistopheles

Comments

It’s fun to see here evil defeated by the Cross, when we know that Georges Méliès was not a mind tortured by metaphysical problems, and rather agnostic, if not freemason 1 .

Two film historians, Frédéric Tabet and Pierre Taillefert, see in this film Méliès’ attempt to renew the genre of magic shows while distinguishing close spiritualism: “Georges Méliès, at the heart of the network of conjurers and aware of attempts to corporate reactions, relies on the magical tradition, but renovates the forms and finally manages to propose a new path, which he declines both on the stage of his theater and in his cinematographic stripes on the screen. ” 2

As is often the case with Georges Méliès’ first films, this one “takes up both the title of the play played at the Robert-Houdin theater and the succession of paintings announced in the press and depicted on the posters; it’s the same costumes and accessories. ” 2

Notes and references

  1. ↑ Marie-France Briselance and Jean-Claude Morin, “film grammar” on page 38, New World Publishing, Paris, 2010 ( ISBN  978-2-84736-458-3 ) , 588 pages
  2. ↑ a and b Frédéric Tabet and Pierre Taillefert , ” Influence of the occult on magical forms the spectacular anti-spiritualism, Spectra Henri Robin in Spiritualism abracadabrant Georges Méliès ‘ A thousand eight hundred ninety-five , o 76,p.  94-117 ( ISSN  0769-0959 , read online  [ archive ] )

The Manor of the Devil is a short French fantasy film, written and directed in 1896 by Georges Méliès .

Synopsis

The scene is in a castle. A giant bat arrives and turns into Mephistopheles. This one shows a big cauldron and a hunchback monster. From this cauldron, he brings up a woman and all kinds of demonic creatures. Then Mephistopheles intends to come and make everything disappear, including him. Two men (probably explorers) arrive in the room and begin to talk. The hunchbacked monster appears, holding a fork. He is invisible to them and plays tricks on them. One of the men gets scared and runs away. The other tries to sit, but his seat moves to the other side of the room. He tries again, and again, in vain, and this time, a skeleton appears on the seat. The man strikes him with his sword, the skeleton turns into a bat. He grabs himself but she becomes … Mephistopheles, who makes the hunchback monster appear, confides his coat to him and makes them disappear. His opponent tries to escape, ghosts block his way, he falls, the ghosts disappear. Once the man is raised, Mephistopheles returns the woman out of the cauldron. The explorer succumbs to his charm. When he wants to kiss her hand, she turns into a horrible witch. He attacks it but four other creatures appear. The second man joins the first but he is as mad as his companion and ends up jumping from the balcony. The witches disappear. Mephistopheles prevents the survivor from escaping, who seizes a cross which he threatens Mephistopheles, finally defeated. His opponent tries to escape, ghosts block his way, he falls, the ghosts disappear. Once the man is raised, Mephistopheles returns the woman out of the cauldron. The explorer succumbs to his charm. When he wants to kiss her hand, she turns into a horrible witch. He attacks it but four other creatures appear. The second man joins the first but he is as mad as his companion and ends up jumping from the balcony. The witches disappear. Mephistopheles prevents the survivor from escaping, who seizes a cross which he threatens Mephistopheles, finally defeated. His opponent tries to escape, ghosts block his way, he falls, the ghosts disappear. Once the man is raised, Mephistopheles returns the woman out of the cauldron. The explorer succumbs to his charm. When he wants to kiss her hand, she turns into a horrible witch. He attacks it but four other creatures appear. The second man joins the first but he is as mad as his companion and ends up jumping from the balcony. The witches disappear. Mephistopheles prevents the survivor from escaping, who seizes a cross which he threatens Mephistopheles, finally defeated. When he wants to kiss her hand, she turns into a horrible witch. He attacks it but four other creatures appear. The second man joins the first but he is as mad as his companion and ends up jumping from the balcony. The witches disappear. Mephistopheles prevents the survivor from escaping, who seizes a cross which he threatens Mephistopheles, finally defeated. When he wants to kiss her hand, she turns into a horrible witch. He attacks it but four other creatures appear. The second man joins the first but he is as mad as his companion and ends up jumping from the balcony. The witches disappear. Mephistopheles prevents the survivor from escaping, who seizes a cross which he threatens Mephistopheles, finally defeated.

Technical sheet

  • French Original title: The Haunted Castle ( The Devil’s Castle , The Haunted Castle , Manor of the Devil or Devil’s Manor in Anglo-Saxon version of O Solar do Diabo in Portuguese, Az ördög kastélya Hungarian, Rezydencja diabla Polish, Ukleti zamak in Serbian, or Замок дьявола in Russian)
  • Scenario, production: Georges Méliès
  • Production: Star Film
  • Filming location: Montreuil, France
  • Duration: 2 minutes
  • Footage: 59.44 meters
  • Format: 35mm to 2 sets of 4 Edison perforations, color (hand colored) – mute
  • Released: France 1896
Final scene. Photogram from the film

Distribution

  • Jeanne d’Alcy : the woman
  • Georges Méliès : Mephistopheles

Comments

It’s fun to see here evil defeated by the Cross, when we know that Georges Méliès was not a mind tortured by metaphysical problems, and rather agnostic, if not freemason 1 .

Two film historians, Frédéric Tabet and Pierre Taillefert, see in this film Méliès’ attempt to renew the genre of magic shows while distinguishing close spiritualism: “Georges Méliès, at the heart of the network of conjurers and aware of attempts to corporate reactions, relies on the magical tradition, but renovates the forms and finally manages to propose a new path, which he declines both on the stage of his theater and in his cinematographic stripes on the screen. ” 2

As is often the case with Georges Méliès’ first films, this one “takes up both the title of the play played at the Robert-Houdin theater and the succession of paintings announced in the press and depicted on the posters; it’s the same costumes and accessories. ” 2

Notes and references

  1. ↑ Marie-France Briselance and Jean-Claude Morin, “film grammar” on page 38, New World Publishing, Paris, 2010 ( ISBN  978-2-84736-458-3 ) , 588 pages
  2. ↑ a and b Frédéric Tabet and Pierre Taillefert , ” Influence of the occult on magical forms the spectacular anti-spiritualism, Spectra Henri Robin in Spiritualism abracadabrant Georges Méliès ‘ A thousand eight hundred ninety-five , o 76,p.  94-117 ( ISSN  0769-0959 , read online  [ archive ] )

Leave a Comment