ridiculous rating

Although it has its amusing moments, in eneral the plot does not convince.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

Melies takes out what appears to be a Christmas wreath, puts it on the wall, and people begin to appear in it. Of course, good old stereotypical Satan gets the first bow, then a young woman (I think she's young), and then a surprise at the end. It's more magic, which seems to be the forte of Melies. It was OK but we've seen so much of this before.

This short film which runs for slightly under a minute is basically another showreel for director and early film pioneer Geoges Méliès. He does one of his trademark magic shows here and it's nothing really out of the ordinary and probably not as interesting as some of his other work from 1899, like his version of Cinderella. In "Évocation spirite" we see Mélies in control of a magic wreath. And as if it was a television, we see several characters appear therein. First Lucifer the personified devil, than a beautiful dark-haired girl, both common themes in Méliès' work and finally Méliès is shown himself inside the wreath. Notable about this short film is that his magician movements and gestures are way more over the top than usual and it's an okay watch for silent film enthusiasts, but really not that interesting to everybody else.

Évocation Spirite is a simple trick film from Georges Méliès. In it he plays a magician who presents us with a wreath. From within this a woman's head appears. This in turn transforms into the head of the devil and then into Méliès himself. It's a basic set up and is only really a showcase for one visual bit of trickery. It's nicely done though and does illustrate again the imagination of Méliès. I wouldn't say it's one of his more inspired efforts though. It does seem merely a little diversion, rather than a fully-fledged piece. Still, like all films from this innovator, it's yet another example of the crazy visual ideas of this genius of the first age of cinema. For that reason, it's worth seeing.

I find it hilarious that with all the advances in CGI and various other special effects technologies these days that something made over one-hundred years ago could have more convincing special effects! It's no wonder director Georges Méliès is called a "Cinemagician" by many film historians. His ability to create a range of special effects utilizing simple, though highly innovative in their day, techniques is something not only contemporary audiences can still enjoy to watch, but something contemporary filmmakers can learn a lesson from. Some of the tricks he used include, but aren't limited to, editing stop tricks, time-lapse photography, optical effects, multiple exposures and dissolves. He was also one of the pioneers of color tinting film, which became an increasingly more popular technique as the silent era moved on from shorts to feature-length films. Sometimes you can spot a slight jump just where the effect is inserted, but other times he does an impressively seamless job blending the action of the actors and the insertion of the effect(s). This one-minute short is a perfect example of his early work.A bearded man hangs up a wreath and, like any good magician, waves his hands inside of it and under it to show us it's only a wreath. He then waves his arms and the inside of the wreath turns black. Hazy white light turns into a demon, which is summoned away, then turns into a woman, who is waved away, which is finally turned into the man himself, who is waved away. At the end, the man again stick his hands and head back through the wreath to show us it's just a wreath. Here, Méliès does a great job inserting the blurry 'spirit' light effect as well as matching actor continuity to the editing splice.