Post No Bills

Plot

In this early comedy short, a soldier dutifully stands guard at his sentry box, tasked with preventing anyone from posting bills or posters on the wall behind him. When the soldier momentarily abandons his post, two opportunistic men quickly rush to plaster the prohibited wall with numerous advertisements. The soldier returns to discover their handiwork and chases them away, creating a simple but effective comedic situation that plays with the concept of authority and rule-breaking.

Historical Background

1896 was a pivotal year in cinema history, marking the transition from purely documentary films to narrative storytelling. The Lumière brothers had just introduced their cinématographe the previous year, and filmmakers worldwide were experimenting with this new medium. Georges Méliès, a successful Parisian magician, was among the first to recognize cinema's potential beyond mere documentation. This film emerged during the Belle Époque period in France, a time of cultural flourishing and technological innovation. Paris was the center of the entertainment world, and audiences were hungry for new forms of amusement. The film's simple comedy about authority figures being outwitted reflected popular theatrical traditions of the time, particularly the French comic tradition that often pitted clever commoners against inept officials.

Making Of

Georges Méliès, a magician-turned-filmmaker, created 'Post No Bills' in his first year of cinema production. The film was shot in the garden of his property in Montreuil-sous-Bois, which he had converted into one of the world's first film studios. Méliès himself often appeared in his early films, and it's possible he played one of the poster-hangers or even the soldier. The production was extremely simple by modern standards - requiring only basic props and costumes, with natural lighting from the sun. The entire film was likely shot in just a few hours, as was typical for these very early shorts. Méliès' background in magic shows influenced his approach to filmmaking, treating the camera as a tool for creating visual spectacles and simple narratives that could entertain audiences.

Visual Style

The cinematography is typical of 1896 films - a single static camera position capturing the entire action in one wide shot. The camera would have been hand-cranked, resulting in variable frame rates by modern standards. The composition is straightforward, with the action staged clearly for the camera's benefit. Lighting was entirely natural, filmed outdoors in Méliès' garden studio. There are no camera movements or cuts, as editing was still in its infancy. The visual style is functional rather than artistic, prioritizing clarity of the action over aesthetic considerations.

Innovations

While not technically innovative compared to some of Méliès' later works that featured special effects, this film demonstrates the early mastery of basic filmmaking techniques. The clear staging and timing of the comedic action shows Méliès' understanding of visual storytelling. The film represents the successful application of theatrical blocking to the new medium of cinema. Méliès' use of his modified camera - adapted from a projector - was itself an innovation in early French cinema.

Music

The film was originally silent, as all films were in 1896. During theatrical screenings, it would have been accompanied by live music, typically a pianist or small orchestra playing appropriate mood music. The exact musical selections would have varied by venue and performer. Some modern restorations have added period-appropriate musical scores, but no original soundtrack exists for the film.

Memorable Scenes

• The moment when the two men rush to put up multiple posters on the forbidden wall while the soldier's back is turned, creating a flurry of activity that builds the film's comedic tension before the inevitable discovery and chase.

What Critics Said

Contemporary critical reception is difficult to document due to the lack of systematic film criticism in 1896. However, Méliès' early films were generally well-received by the Parisian public who attended screenings at his Théâtre Robert-Houdin and other venues. Modern film historians recognize this film as an important example of early narrative cinema, though it's often overshadowed by Méliès' more elaborate later works like 'A Trip to the Moon' (1902). Today, critics view it as a charming artifact from cinema's infancy, demonstrating the simple but effective storytelling techniques that would evolve into the complex narratives of modern cinema.

What Audiences Thought

Audiences in 1896 were fascinated by any moving pictures, and simple comedies like 'Post No Bills' were particularly popular. The clear visual gags and relatable situation of authority being undermined would have resonated with contemporary viewers. The film was likely shown as part of a program of shorts at Méliès' theater and other venues, where audiences paid to see multiple films in one sitting. While specific audience reactions weren't recorded, the fact that Méliès continued to produce similar comedic shorts suggests they were successful with viewers.

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