The Tramp and the Mattress Makers

Plot

The film follows a wandering tramp who stumbles into a mattress-making workshop where workers are busy stuffing and sewing mattresses. In a moment of carelessness, the tramp lies down on an unfinished mattress and falls asleep, only to be accidentally sewn inside by the oblivious workers. The remainder of the film showcases the tramp's frantic attempts to escape from within the mattress, creating a series of comedic situations as the mattress moves, bounces, and contorts in response to his struggles. The workers remain unaware of their unwitting prisoner as they handle and move the mattress through various scenarios, with the tramp's presence only becoming apparent through the mattress's peculiar movements and the occasional glimpse of his extremities.

Historical Background

1906 was a pivotal year in early cinema, occurring just over a decade after the Lumière brothers' first public screening in 1895. During this period, cinema was transitioning from simple actualities and trick films to more complex narrative storytelling. Georges Méliès was at the height of his career as a filmmaker, having established himself as a pioneer of special effects and fantasy cinema. This film emerged during a time when physical comedy and slapstick were becoming increasingly popular in silent films, paving the way for later comedians like Charlie Chaplin and Buster Keaton. The early 1900s also saw the rise of purpose-built film studios, with Méliès's glass studio in Montreuil being among the first in the world. Film distribution was expanding globally, with Méliès's Star Film Company maintaining offices in multiple countries to handle international sales of his productions.

Making Of

The production of this film exemplified Méliès's theatrical approach to filmmaking, using his glass-walled studio in Montreuil-sous-Bois where he could control lighting and employ stage machinery. The mattress prop was ingeniously designed with hidden compartments and reinforcement to allow an actor to move inside while maintaining the illusion of being trapped. Méliès, who often performed in his own films, likely played the tramp character himself, using his background as a magician and theater performer to execute the physical comedy. The film was shot in a single take with a static camera, as was typical of the era, with all the action choreographed to play out within the frame. The workers in the workshop were likely Méliès's regular troupe of actors who appeared in many of his films, trained to perform with the exaggerated gestures required for silent film comedy.

Visual Style

The film was shot using a single stationary camera positioned to capture the entire action within the frame, typical of Méliès's filmmaking style. The cinematography emphasized theatrical composition with the mattress workshop set arranged like a stage, allowing all the action to be visible at once. The lighting would have been natural sunlight from Méliès's glass studio, creating bright, even illumination that ensured all details of the physical comedy were clearly visible. The camera work was straightforward without movement or cuts, relying instead on carefully choreographed action within the frame. Some versions of the film may have featured hand-coloring, a Méliès specialty where individual frames were colored by hand to add visual interest and highlight important elements of the scene.

Innovations

While not as technically innovative as Méliès's fantasy films featuring multiple exposures and substitution splices, this film demonstrated his mastery of practical effects and prop construction. The mattress prop itself was an engineering achievement for its time, designed to accommodate an actor while creating the illusion of a normal mattress. The film showcased Méliès's ability to create believable physical comedy using simple mechanical effects and clever choreography. The seamless integration of the actor's movements with the prop's behavior required precise timing and coordination between the performer and the effects team. The film also demonstrated Méliès's efficient production methods, creating entertaining content with minimal resources while maintaining high visual quality.

Music

As a silent film from 1906, 'The Tramp and the Mattress Makers' had no synchronized soundtrack. During original screenings, the film would have been accompanied by live music, typically a pianist or small orchestra in theaters, or possibly a phonograph recording in smaller venues. The musical accompaniment would have been improvised or selected from standard pieces appropriate to the action on screen, with lively, comical music playing during the humorous scenes. The music would have helped emphasize the physical comedy and provide emotional cues for the audience. Modern screenings of the film are typically accompanied by newly composed scores or period-appropriate music that reflects the style of early 20th-century cinema accompaniment.

Memorable Scenes

• The climactic sequence where the tramp struggles inside the moving mattress, with the prop bouncing and contorting as workers carry it around the workshop, creating the illusion of a living, breathing object with a person trapped inside

What Critics Said

Contemporary reviews of this specific film are scarce, as film criticism was still in its infancy in 1906. However, Méliès's comedies were generally well-received by audiences of the period who appreciated his inventive visual gags and theatrical style. Modern film historians recognize this work as typical of Méliès's more conventional comedy output, lacking the fantastical elements that made his fantasy films famous but demonstrating his versatility as a filmmaker. Critics today view such films as important artifacts showing the development of cinematic comedy, even if they lack the sophistication of later works. The film is appreciated for its clever use of props and physical comedy, representing Méliès's ability to create entertaining scenarios with minimal resources and maximum visual impact.

What Audiences Thought

Early 20th-century audiences reportedly enjoyed Méliès's comedy films for their straightforward humor and visual gags that required no intertitles or explanation. The premise of someone being accidentally trapped in a mattress would have been immediately understandable and amusing to viewers of all ages and backgrounds. The film was likely shown as part of variety programs in music halls, fairgrounds, and early cinemas, where it would have provided lighthearted entertainment between more dramatic or educational films. The physical nature of the comedy made it accessible to international audiences, contributing to Méliès's success in exporting his films worldwide. Modern audiences viewing the film in archives or on streaming platforms often find charm in its simplicity and the ingenuity of the practical effects, appreciating it as a window into early 20th-century entertainment.

You Might Also Like