The way dreams are presented in "Baron Munchausen's Dream" make it one of Georges Méliès's most interesting films. The use of the mirror and the baron's interactions in the rapidly-changing dream scenes make it unique and sets the stage for the films of Buster Keaton where dreams are explicitly associated self-reflexively with movies themselves instead of with the reflexive nature of a mirror.
In it, the Baron overindulges at dinner and, consequently, his dreams morph into wilder and more frightening episodes, in which he interacts, until he's finally upset enough to break through his mirror and fall outside. The film's title character, by the way, was a real person. According to the Wikipedia website, he was known for telling far-fetched stories about himself. Since his lifetime, he's become a popular fictional literary character and both the medical Münchausen syndrome and the philosophical Münchausen trilemma are named after him. Méliès's film turns the Baron's tendency to implant himself in unbelievable adventures against him, as he becomes the victim of his own imagination or, rather, that of cinema's first magician and storyteller of fantastic tales.
Dreams are one of the most popular subjects in Méliès's oeuvre. Due to this, the Flicker Alley five-DVD set's filmography lists "Dream Film" as a genre, of which 16 of the 173 titles are catalogued. His earliest film to be framed as a dream and, indeed, the earliest dream film I know of, is "A Nightmare" (1896). This scenario allowed Méliès to use his favorite tricks of substitution splicing and superimpositions to create the strange happenings, as well as theatrical designs and scene changes. In "A Nightmare" and, more so, in "The Astronomer's Dream" (1898), there are the beginnings of the multi-shot film, as settings are changed to the befuddlement of the protagonist. His earliest story films also contained dreams-within-scenes, such as those in "Cinderella", "Bluebeard" and "A Trip to the Moon". Later longer fantasies ("Rip's Dream", "Under the Seas", "Tunnelling the English Channel and "A Grandmother's Story") were framed entirely as dreams.
Other early filmmakers were also quick to depict dreams in cinema. George Albert Smith's "Santa Clause" (1898) features a superimposed dream-scene-within-a-scene, and he used lens focusing in "Let Me Dream Again" (1900) to transition out of the fantasy. Ferdinand Zecca, in his remake of the latter film, used a dissolve--a technique that Méliès seems to have even changed his use of for transitioning in and out of a dream in "A Grandmother's Story".
"Baron Munchausen's Dream" takes up the dream-scene-within-a-scene form, but in the way of a stage-within-a-stage, so that the Baron may interact with the dream world. The dream stage replaces the large mirror in the Baron's bedroom and, then, replaces the entire stage. The Baron's entering of this mirrored dream world and, especially, how the dream scenes are changed by cutting-on-action to the bewilderment of the Baron, who is the only constant, is similar to Buster Keaton's dream of entering a film and finding himself in changing scenes in "Sherlock Jr." (1924). One incongruous difference with Méliès's film, however, is his inconsistent use of both dissolves and direct cuts for these scene changes. Yet, it doesn't seem far fetched that Keaton may've found inspiration in this film; after all, part of Keaton's "The Playhouse" (1921) is even more obviously inspired by a Méliès picture, "The One-Man Band" (1900).
Although other early films used superimpositions (or matte shots) to make movies about people watching movies (including R.W. Paul's "The Countryman and the Cinematograph" (1901) and Méliès's own "The Magic Lantern" (1903) and "Long Distance Wireless Photography" (1908)), I haven't seen an explicit associative connection made between dreams and cinema before Keaton's work. The dreams in this film are likely more so playing on the literary traditions of the Baron's adventures. The first images involve attractive ladies, including in an aristocratic dance and a Cleopatra-style Egyptian setting, whom the Baron tries to interact with and for which he is initially tossed off the dream stage. Some of the other dream imagery is somewhat interesting, such as the seemingly suggestive sights of women turning into kneeling fountains spurting water from their mouths and a superimposed devil-faced Moon with a long waggling tongue and a nose that transforms into an elephant's trunk. Others are, as a title card described, bland and, certainly, incoherent.
This is Méliès's most cinematic film in a couple other respects. By 1911, Méliès had adopted some continuity editing, including the temporal continuity of actions across scenes transitioned by direct cuts. The substitution splicing for scene and character changes, appearances and disappearances that Méliès had been using for years within scenes also prefigures the classical editing style of cutting on action between scenes. More unique to Méliès's oeuvre is the mirror and added dimension of the bedroom scene. The mirror reflects a fourth wall in the set, which takes the film out of the theatricality of every other Méliès film and, indeed, many other old movies. According to historian John Frazer, in his book "Artificially Arranged Scenes", Méliès's set designer at this time was a man named Claudel. This may be the only case in a Méliès fiction film where they got away from what Frazer calls "proscenium-bound thinking". The settings are also quite ornate.
Other early films featured interesting uses of mirrors to show actions that would otherwise be out of frame. Films such as the 1910 "Frankenstein" and the "Student of Prague" films incorporated mirrors into their horrific trickery. Although "Baron Munchausen's Dream" doesn't make the self-reflexive association between dreams and movies that Keaton's films do, it does use this other means of reflecting images, the mirror, to reflect dreams, which occur at first on a theatrical stage, but end up consuming the entire frame of the movie. And like the original movie about movies, "The Countryman and the Cinematograph", the trickery of the moving images and the protagonist's misery are only escaped when the wall (be it screen or mirror) is smashed through.
In it, the Baron overindulges at dinner and, consequently, his dreams morph into wilder and more frightening episodes, in which he interacts, until he's finally upset enough to break through his mirror and fall outside. The film's title character, by the way, was a real person. According to the Wikipedia website, he was known for telling far-fetched stories about himself. Since his lifetime, he's become a popular fictional literary character and both the medical Münchausen syndrome and the philosophical Münchausen trilemma are named after him. Méliès's film turns the Baron's tendency to implant himself in unbelievable adventures against him, as he becomes the victim of his own imagination or, rather, that of cinema's first magician and storyteller of fantastic tales.
Dreams are one of the most popular subjects in Méliès's oeuvre. Due to this, the Flicker Alley five-DVD set's filmography lists "Dream Film" as a genre, of which 16 of the 173 titles are catalogued. His earliest film to be framed as a dream and, indeed, the earliest dream film I know of, is "A Nightmare" (1896). This scenario allowed Méliès to use his favorite tricks of substitution splicing and superimpositions to create the strange happenings, as well as theatrical designs and scene changes. In "A Nightmare" and, more so, in "The Astronomer's Dream" (1898), there are the beginnings of the multi-shot film, as settings are changed to the befuddlement of the protagonist. His earliest story films also contained dreams-within-scenes, such as those in "Cinderella", "Bluebeard" and "A Trip to the Moon". Later longer fantasies ("Rip's Dream", "Under the Seas", "Tunnelling the English Channel and "A Grandmother's Story") were framed entirely as dreams.
Other early filmmakers were also quick to depict dreams in cinema. George Albert Smith's "Santa Clause" (1898) features a superimposed dream-scene-within-a-scene, and he used lens focusing in "Let Me Dream Again" (1900) to transition out of the fantasy. Ferdinand Zecca, in his remake of the latter film, used a dissolve--a technique that Méliès seems to have even changed his use of for transitioning in and out of a dream in "A Grandmother's Story".
"Baron Munchausen's Dream" takes up the dream-scene-within-a-scene form, but in the way of a stage-within-a-stage, so that the Baron may interact with the dream world. The dream stage replaces the large mirror in the Baron's bedroom and, then, replaces the entire stage. The Baron's entering of this mirrored dream world and, especially, how the dream scenes are changed by cutting-on-action to the bewilderment of the Baron, who is the only constant, is similar to Buster Keaton's dream of entering a film and finding himself in changing scenes in "Sherlock Jr." (1924). One incongruous difference with Méliès's film, however, is his inconsistent use of both dissolves and direct cuts for these scene changes. Yet, it doesn't seem far fetched that Keaton may've found inspiration in this film; after all, part of Keaton's "The Playhouse" (1921) is even more obviously inspired by a Méliès picture, "The One-Man Band" (1900).
Although other early films used superimpositions (or matte shots) to make movies about people watching movies (including R.W. Paul's "The Countryman and the Cinematograph" (1901) and Méliès's own "The Magic Lantern" (1903) and "Long Distance Wireless Photography" (1908)), I haven't seen an explicit associative connection made between dreams and cinema before Keaton's work. The dreams in this film are likely more so playing on the literary traditions of the Baron's adventures. The first images involve attractive ladies, including in an aristocratic dance and a Cleopatra-style Egyptian setting, whom the Baron tries to interact with and for which he is initially tossed off the dream stage. Some of the other dream imagery is somewhat interesting, such as the seemingly suggestive sights of women turning into kneeling fountains spurting water from their mouths and a superimposed devil-faced Moon with a long waggling tongue and a nose that transforms into an elephant's trunk. Others are, as a title card described, bland and, certainly, incoherent.
This is Méliès's most cinematic film in a couple other respects. By 1911, Méliès had adopted some continuity editing, including the temporal continuity of actions across scenes transitioned by direct cuts. The substitution splicing for scene and character changes, appearances and disappearances that Méliès had been using for years within scenes also prefigures the classical editing style of cutting on action between scenes. More unique to Méliès's oeuvre is the mirror and added dimension of the bedroom scene. The mirror reflects a fourth wall in the set, which takes the film out of the theatricality of every other Méliès film and, indeed, many other old movies. According to historian John Frazer, in his book "Artificially Arranged Scenes", Méliès's set designer at this time was a man named Claudel. This may be the only case in a Méliès fiction film where they got away from what Frazer calls "proscenium-bound thinking". The settings are also quite ornate.
Other early films featured interesting uses of mirrors to show actions that would otherwise be out of frame. Films such as the 1910 "Frankenstein" and the "Student of Prague" films incorporated mirrors into their horrific trickery. Although "Baron Munchausen's Dream" doesn't make the self-reflexive association between dreams and movies that Keaton's films do, it does use this other means of reflecting images, the mirror, to reflect dreams, which occur at first on a theatrical stage, but end up consuming the entire frame of the movie. And like the original movie about movies, "The Countryman and the Cinematograph", the trickery of the moving images and the protagonist's misery are only escaped when the wall (be it screen or mirror) is smashed through.