Lucybespro It is a performances centric movie

Beanbioca As Good As It Gets

Glimmerubro It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

Tymon Sutton The acting is good, and the firecracker script has some excellent ideas.

Hitchcoc Melies does some excellent work here. First of all, his work with the magical cards is nice. The quality of the film makes us see the great one and his presence so much better than the past. He doe multiple tricks with cards turning into people and vice-versa. I really like his finale when he, himself, goes through the big card and appears in another place. But there is even more.

ackstasis Considering that Georges Méliès was a stage magician before he took an interest in cinema, it's no surprise that he liked to incorporate countless little "magic acts" into his films. As a rule, his narrative-driven films {such as 'A Trip to the Moon (1902)' and 'The Impossible Voyage (1904)'} are by far his most impressive works, not only for their revolutionary storytelling structures, but also for their seemingly-boundless imagination and creativity. Nevertheless, further genius is to be found in Méliès' shorter "gimmick films," which translated the magician's tricks to the cinema screen and proved crucial in the development of visual effects. Too often, early filmmakers like Edison and the Lumière brothers employed this new technology for purely documentary purposes, presenting audiences with brief snippets of everyday life. However, this French "Cinemagician" took a vastly different outlook on the possibilities made feasible by the humble cinematograph: he made the impossible happen before our very eyes.'The Living Playing Cards (1904),' along with the delightfully-whimsical 'The Four Troublesome Heads (1898),' is one of Méliès' most inventive special-effects showcases. The film starts simply enough, with Méliès – our host, as always – stepping out onto the stage and showing the audience a playing card. It is too small for anybody to decipher, so, with a quick slide of the wrist, the card is suddenly substantially larger. He then manages to transfer the card image onto a large, blank sheet of paper, and then the Queen on the life-sized card is magically transformed into a living, breathing queen who emerges from the paper and walks around the stage. These transformations – some more refined than others – employ the use of quick cuts, multiple dissolves and cross-fades, techniques with which Méliès had been experimenting for many years. The two-minute film is presented in the style of a traditional magic act, presenting contemporary audiences with a format with which they were familiar, but somewhat furtively offering the magician a greater flexibility with his tricks.The most entertaining part of the film takes place at the very end, when Méliès accidentally transforms the King on the playing card into a real-life King, who bursts threateningly from his sheet of paper. Terrified, Méliès flees the stage in fear. Just as he does this, the King throws off his costume to reveal that he is Méliès himself! The first time I saw this, I was genuinely taken aback by the unexpected reveal, and it took several closer inspections to deduce how the trick was actually performed; from what I was able to tell, the director substituted himself into the King's clothes at the very moment that the costume were cast aside. Such an act demonstrates very effectively the advantages enjoyed by Méliès once he had adopted this revolutionary new technology, and, ever since, magicians have struggled vainly to keep up with the advancements presented by the cinematic medium. If magicians are now a dying breed, they can blame their unemployment on clever little films like this one.

MartinHafer This score of 8 is really relative to other films by director Georges Méliès. If any of his work is compared to his contemporaries, even his worst films would probably merit a 9 because they are so much more complex, fun and timeless compared to the fare of the day. This film is about a magician (played by Méliès), and this isn't surprising as he was, before moving to films, a stage magician himself. The magician pulls out a small playing card and shows it to the audience. Since it is so small, he magically increases its size several times. Ultimately, he makes the tiny card become about 6 to 7 feet high AND the characters of a queen and king become REAL (through the use of stop-motion and slow dissolves). This is very entertaining and amazing because no others were able to do such brilliant camera tricks.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.

Snow Leopard While the ideas are mostly simple ones, this film packs several skillfully done visual effects into a short running time. Like a number of Méliès features, it starts off with a stage magician doing tricks, here using playing cards, and then gets more involved as it goes along. It works pretty well because of a lot of good camera tricks, almost all of which are done with care. Many of the visual effects are nearly seamless, and are fairly impressive given the limited resources available at the time. There isn't anything really spectacular in this one, and many of the features that Méliès made are more complex and have more action than this does, but this little movie scores pretty well in terms of its craftsmanship.