At the Hypnotist's

Plot

In this early comedy short, a hypnotist performs tricks on his patients in his office. The film shows the hypnotist successfully putting subjects into trance-like states, making them perform comical actions against their will. One patient is made to stand on one leg, another is compelled to remove their clothing, and a third is hypnotized into believing they are a chicken. The hypnotist's authority is eventually challenged when one patient proves resistant to his powers, leading to chaotic and humorous consequences as the various hypnotized subjects create mayhem in the office.

Historical Background

1898 was a pivotal year in early cinema, occurring during what film historians call the 'cinema of attractions' period when films were primarily novelties shown at fairgrounds, music halls, and vaudeville theaters. The Dreyfus Affair was dominating French politics, creating social tensions that may have influenced the public's appetite for escapist entertainment. The Spanish-American War was raging, and new technologies like the automobile and telephone were transforming society. Cinema itself was still establishing its language - continuity editing, close-ups, and complex narrative structures had not yet been developed. Films like this were typically part of mixed programs alongside live performances, magic lantern shows, and other attractions.

Making Of

Alice Guy-Blaché began her filmmaking career at Gaumont after convincing her boss Léon Gaumont that film could be used for more than just documenting reality. She was initially put in charge of Gaumont's film production as an experiment, and 'At the Hypnotist's' was among her early narrative films. The production would have been extremely simple by modern standards - a single camera setup, natural lighting, and actors performing in real-time without the possibility of editing or retakes. The hypnotist and his subjects were likely played by theater actors from Paris who were accustomed to broad physical comedy that would read well on screen. The film was shot on 35mm film using early cinematography equipment, and each copy had to be printed individually from the original negative.

Visual Style

The cinematography is characteristic of 1898 filmmaking - a single, static camera position capturing the entire scene in one continuous take. The camera would have been hand-cranked, resulting in variable frame rates by modern standards. The composition is theatrical, with the action arranged to be clearly visible from a single vantage point, much like a stage play. Lighting was natural or basic studio illumination, creating high contrast images typical of early film. There are no camera movements or changes in perspective, as these techniques had not yet been developed. The visual style prioritizes clarity and legibility of the action over artistic composition.

Innovations

While technically simple by modern standards, the film represents several early achievements. It demonstrates early narrative storytelling in cinema, moving beyond simple actualities to fictional comedy. The film showcases early understanding of visual comedy and timing, crucial skills in cinematic language. As a Gaumont production, it utilized their early film equipment and processing techniques. The preservation of the film itself is a technical achievement, given the fragile nature of early nitrate film stock. The film also represents early experimentation with genre, helping establish comedy as a viable category for motion pictures.

Music

Originally, this silent film would have been accompanied by live music, typically a piano or organ in the exhibition venue. The accompanist would have improvised or used popular melodies of the era, matching the mood and action on screen. For a comedy like this, upbeat, playful music would have been appropriate. There was no original composed score specifically for this film, as custom film scoring did not become common until later in cinema's development. Some screenings might have included sound effects created live by theater staff to enhance the comedy, such as bells or whistles.

Memorable Scenes

• The climactic chaos scene where all the hypnotized patients simultaneously break free and create pandemonium in the hypnotist's office, with one patient acting like a chicken, another attempting to undress, and others performing various comical actions, all while the hypnotist desperately tries to regain control of the situation.

What Critics Said

Contemporary critical reception is difficult to document as film criticism as we know it did not exist in 1898. Reviews, if any, would have appeared in general newspapers rather than specialized film publications. The film was likely received as an amusing novelty, with audiences appreciating the humor of seeing people under hypnotic control. Modern film historians and scholars view the film as an important artifact of early cinema, particularly significant for its female directorship and its role in the development of narrative comedy. It is frequently cited in academic works about Alice Guy-Blaché's pioneering contributions to cinema.

What Audiences Thought

Audiences in 1898 would have viewed this film as a magical and entertaining spectacle. The very idea of moving images was still astonishing to most viewers, and a comedy showing people behaving strangely under hypnosis would have been particularly delightful. The film likely elicited laughter and wonder, with viewers marveling at the technology as much as the content. Early cinema audiences were often vocal and interactive, reacting audibly to the screen. The hypnotist theme would have resonated with contemporary audiences who were familiar with stage hypnotists and spiritualist performances that were popular entertainment at the time.

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