n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

In truth, there is barely enough story here to make a film.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

There is definitely an excellent idea hidden in the background of the film. Unfortunately, it's difficult to find it.

French magician and filmmaker Georges Melies has seven chairs lined up across your movie screen. He appears dressed as a musician and takes a seat, then a super-imposed Mr. Melies rises, with cymbals, from the first sitting Melies and sits in the second seat. From the second seat, a drumming Melies moves on to the next seat. This goes on until all seven seats are filled with different members of an instrumental orchestra. Melies plays each part. They perform enthusiastically for the audience and meld back into the original Melies. He is a one man band!****** L'homme orchestre (1900) Georges Melies ~ Georges Melies

In this innovative short Georges Méliès - the man who invented cinematic special effects - plays an entire band. The specific technology that Méliès showcases here is multiple exposures. This technique was used to populate a single scene with a number of separate images, filmed independently. In this case Méliès appears as seven different characters, all making up the little orchestra. It's a typically ambitious idea from the master showman of early cinema. And like his other experiments, it's done very well. It really is remarkable how successfully Méliès produced his crazy ideas at this extremely early stage in the development of the medium. Not only is it technically expert but Méliès also acts out seven characters in one simultaneous scene and his timing is very precise. This film was one of many from the director's first phase where his movies were essentially showcases for his visual trickery and cinematic sleight of hand. He would soon go on to expand his repertoire with story-telling, such as the seminal A Trip to the Moon. But these earlier experiments are still a great way of seeing the development of a true pioneer.

Director Méliès later went on to make several other shorts where he acted and replicated himself (in two cases, popping off his head and using it to make a whole bunch of singing heads), but I think this is one of the earliest of this type of film (the first coming in 1898). But, instead of pulling off his head, he is able replicate himself many times until he is an entire performing ensemble. While compared to later trick cinematography this isn't a great special effect, for its day it was amazing and quite funny. For a similar type experience (though of course a lot better because of advancements in camera-work), see Buster Keaton's THE PERFORMANCE--where he not only plays all the performers, but all the members of the audience (including the women)!If you want to see this film online, go to Google and type in "Méliès" and then click the video button for a long list of his films that are viewable without special software.

In this short film Georges Mélies makes the first use of double-exposing, making seven "clones" of Himself playing an orchestra. The trick is now easy to do, but then it was quite expensive to film seven different shots to one roll of film. Although Mélies makes a professional and well-coordinated work.