Good Glue Sticks

Plot

A street peddler enthusiastically sets up his outdoor stall, proudly advertising his supposedly superior glue products to passersby. As he begins his sales demonstration with theatrical flourishes, two suspicious police officers observe his operation with growing concern. The cops systematically intervene, dispersing the gathered crowd and attempting to shut down the peddler's business, enraging the salesman who feels unjustly persecuted. After being driven away from his pitch, the peddler plots his revenge against the interfering officers, following them to a park where they rest on a bench. Using his adhesive products as weapons, he executes a series of comedic pranks to get back at the officers who ruined his business.

Historical Background

1907 was a pivotal year in cinema history, marking the transition from novelty entertainment to a more established art form. The film industry was rapidly professionalizing, with longer narratives becoming more common and production values increasing. In France, the Pathé and Gaumont companies were dominating the market with their industrial approach to filmmaking, while Méliès maintained his more artisanal, theatrical style. This period saw the rise of nickelodeons in America and the establishment of permanent cinemas worldwide. The film's theme of street commerce versus authority reflects the urbanization and social tensions of early 20th-century Paris, where traditional ways of life were being disrupted by modernization and increased regulation.

Making Of

The production would have followed Méliès's established workflow of the time, beginning with hand-drawn storyboards and set designs. The outdoor street scene would have been created in his studio using theatrical flats and painted backdrops, allowing complete control over lighting and camera positioning. The glue effects would have been achieved through careful editing and possibly practical effects using actual adhesive substances. Méliès, a former magician, would have choreographed the physical comedy with precision, timing each gag for maximum visual impact. The film was likely shot in one or two takes per scene, with the camera remaining static as was typical of the era. Post-production would have involved Méliès personally overseeing the editing and potentially hand-coloring of key frames.

Visual Style

The cinematography would have been typical of Méliès's work in 1907, featuring a stationary camera positioned to capture the theatrical stage-like composition. The lighting would have been natural sunlight from the glass studio roof, creating the bright, even illumination characteristic of Méliès's films. The visual style would emphasize clarity and composition, with careful arrangement of actors and props within the frame. Any special effects involving the glue would have been executed through in-camera techniques rather than post-production manipulation. The film likely employed Méliès's characteristic use of painted backdrops and theatrical set dressing to create the illusion of an outdoor street scene.

Innovations

While not as technically ambitious as Méliès's fantasy films, this short would have demonstrated his mastery of substitution splices for the glue-related effects. The film likely employed multiple exposure techniques for certain gags and careful editing to create the illusion of objects sticking together or apart. Méliès's use of practical effects and props combined with cinematic techniques would have showcased his innovative approach to visual comedy. The production would have also benefited from Méliès's sophisticated studio setup, which allowed for precise control over lighting and camera positioning, resulting in unusually clear images for the period.

Music

As a silent film, it would have been accompanied by live musical performance during exhibition. The typical accompaniment might have included popular songs of the era, light classical pieces, or improvised piano music that matched the on-screen action. For a comedy like this, the musical accompaniment would likely have been upbeat and playful, with musical stings to emphasize the gags and physical comedy. In some venues, a small orchestra might have provided the score, while smaller theaters would have used a single pianist or organist.

Memorable Scenes

• The peddler's theatrical demonstration of the glue's sticking power
• The police officers systematically dispersing the crowd
• The peddler's revenge sequence using the glue products on the park bench
• The final chaotic scene where the officers struggle against the adhesive effects

What Critics Said

Contemporary reception of Méliès's comedies was generally positive, with trade publications noting their inventiveness and humor. The film would have been appreciated for its clever use of props and the physical comedy of the glue gags. Modern critics and film historians view these lesser-known Méliès works as important for understanding his complete artistic range and contribution to early comedy cinema. While not as celebrated as his fantasy masterpieces, films like this demonstrate Méliès's skill in creating relatable, contemporary scenarios that appealed to audiences of his time.

What Audiences Thought

Early 20th-century audiences would have found immediate amusement in the recognizable street setting and the underdog story of the peddler versus authority. The visual gags involving glue would have provided accessible humor that transcended language barriers, making the film suitable for international distribution. Like many Méliès shorts of this period, it likely enjoyed moderate success in both French and foreign markets, though it wouldn't have achieved the popularity of his more spectacular fantasy productions. The film's relatable premise and physical comedy would have made it a popular choice for vaudeville theater programs and early cinema houses.

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