In the large body of work produced by the French cinemagician Georges Méliès, the films he is mainly remembered for mainly include his fantasy/science fiction features, as well as his trick films, due to their wonderful charm and great visual effects that were ahead of their time when first premiered. However, this is not to say he was above producing films of other genres; on occasion, he would produce the standard drama/crime film more recognized as being the Edison Manufacturing Company's trademark, and sometimes, especially later in his career, slapstick was particularly prominent in the Star Film Catalog. Unfortunately, most fans of his work have dismissed his films of the latter genre, and for a good reason: Méliès did better with comedy and slapstick when it was in little humorous touches than with actually fully focusing a film on these elements. "The Hilarious Posters" is in many ways more of a comedy than a trick film, with limited effects that serve mainly to bring out the plot - a good thing considering Méliès usually did the opposite, but causing the effects to be shoved to the side and done much more abruptly and clumsily.
In "The Hilarious Posters", the filmmaker makes use of a concept he did numerous themes on throughout his career: the inanimate coming to life, in this case a wall of advertising posters becoming animated. It's an amusing little story, with some good elements of humor and a great finale, but, as other reviewers have already pointed out, the execution of the effects is rather sloppily pulled off. For Méliès, preventing this could easily have been a case of better judgement: to bring the posters to life, he uses an abrupt substitution splice, causing a quick jump from the pictures to the live human actors. Had the actors been better positioned in the poses of their drawn counterparts, this would not be a problem, but because the poses are a lot harder to keep for so long, it would have been far better for them to have kept the poses they did in the final product and use a slow dissolve to transition the images smoothly. Although the drawings and the actors would still not have matched up quite as well, doing this would have disguised it a lot better, and made more sense in addition given the scenario of the film.
Nevertheless, it is the creativity that pulls off the film, and the result is a very humorous comedy far better than later ones by the filmmaker. In 1908, he and his team would split into two studios, A and B; Méliès would create films in A, while his production assistant and actor known as Manuel would direct films in B. Because none of the slapstick comedies turned out that year had this element of the fantastic along with the slapstick, the majority of those films are today regarded as failures (it also didn't help that without Méliès onscreen, none of the ones by Manuel came off as especially distinctive to his style). "The Hilarious Posters" is thus a success in that it uses its effects (albeit poorly done) as a way of executing a genuinely creative story, something Méliès needed more of to survive in those later years.
In "The Hilarious Posters", the filmmaker makes use of a concept he did numerous themes on throughout his career: the inanimate coming to life, in this case a wall of advertising posters becoming animated. It's an amusing little story, with some good elements of humor and a great finale, but, as other reviewers have already pointed out, the execution of the effects is rather sloppily pulled off. For Méliès, preventing this could easily have been a case of better judgement: to bring the posters to life, he uses an abrupt substitution splice, causing a quick jump from the pictures to the live human actors. Had the actors been better positioned in the poses of their drawn counterparts, this would not be a problem, but because the poses are a lot harder to keep for so long, it would have been far better for them to have kept the poses they did in the final product and use a slow dissolve to transition the images smoothly. Although the drawings and the actors would still not have matched up quite as well, doing this would have disguised it a lot better, and made more sense in addition given the scenario of the film.
Nevertheless, it is the creativity that pulls off the film, and the result is a very humorous comedy far better than later ones by the filmmaker. In 1908, he and his team would split into two studios, A and B; Méliès would create films in A, while his production assistant and actor known as Manuel would direct films in B. Because none of the slapstick comedies turned out that year had this element of the fantastic along with the slapstick, the majority of those films are today regarded as failures (it also didn't help that without Méliès onscreen, none of the ones by Manuel came off as especially distinctive to his style). "The Hilarious Posters" is thus a success in that it uses its effects (albeit poorly done) as a way of executing a genuinely creative story, something Méliès needed more of to survive in those later years.