The Treasures of Satan

Plot

In the hall of an old chateau, a miser has locked away seven large bags containing his wealth. Satan infiltrates the chateau and magically transfers the bags into a strong box using cabalistic hand motions. When the miser discovers his fortune missing, he opens the coffer and the bags leap out, only to be transformed into seven young women who chase and beat him mercilessly. The miser is trapped in the coffer, and upon escaping, finds both the young women and his money have vanished, leaving him in profound despair.

Historical Background

This film was created during the pioneering era of cinema, just seven years after the Lumière brothers' first public screening in 1895. 1902 was a significant year for Méliès, as it also saw the release of his most famous work, 'A Trip to the Moon.' The early 1900s marked the transition from actuality films to narrative cinema, with filmmakers like Méliès leading the way in creating fantastical stories rather than simply documenting reality. This period also saw the establishment of film as a commercial enterprise, with Méliès's Star Film Company becoming one of the first successful film production studios. The film reflects the theatrical traditions of the 19th century, particularly the magic lantern shows and stage illusions that were popular entertainment before cinema's emergence.

Making Of

Georges Méliès utilized his signature substitution splice technique to create the magical transformations in this film. The process involved stopping the camera, changing elements in the scene, and then restarting filming to create the illusion of instantaneous transformation. For the scene where bags turn into young women, Méliès likely used multiple exposures combined with careful timing and stagecraft. The actresses would have been positioned off-camera and would rush into frame during the camera stop, creating the magical effect. Méliès's background as a magician heavily influenced his cinematic techniques, and he often adapted stage illusions for the screen. The film was shot on a single set designed to resemble a gothic chateau hall, complete with painted backdrops and theatrical props that Méliès had accumulated from his theater days.

Visual Style

The film employs Méliès's characteristic theatrical cinematography, featuring a static camera positioned to capture the entire stage like a theater audience's view. The lighting was natural, coming through the glass walls of Méliès's studio, creating the dramatic shadows essential to the horror atmosphere. The camera work is straightforward but serves the narrative effectively, allowing the audience to focus on the magical transformations and theatrical performances. The composition follows the proscenium arch style, with all action taking place within a clearly defined space. Méliès's use of perspective and set design creates the illusion of depth despite the flat, painted backdrops typical of early film sets.

Innovations

The film showcases several of Méliès's pioneering technical innovations, most notably the substitution splice technique for creating magical transformations. The multiple exposure effects used to make bags disappear and young women appear were groundbreaking for their time. Méliès also employed pyrotechnics and stage machinery to create the supernatural atmosphere. The film demonstrates early use of editing as a storytelling tool, with cuts timed to create magical effects rather than simply joining different scenes. The hand-coloring process used in some versions of the film represents an early form of color in cinema, with each frame individually painted by studio workers. These techniques established many of the special effects methods that would become standard in fantasy and horror filmmaking.

Music

As a silent film, 'The Treasures of Satan' would have been accompanied by live music during exhibition. The typical accompaniment might have included piano or organ music, often improvised by the musician to match the on-screen action. For a film with supernatural and dramatic elements, the music would likely have included ominous chords for Satan's appearances, playful melodies for the transformation scenes, and dramatic crescendos during the chase sequence. Some theaters might have used pre-selected classical pieces that matched the mood of different scenes. The musical accompaniment was crucial for setting the tone and enhancing the emotional impact of the visual storytelling.

Memorable Scenes

• The magical transformation sequence where seven bags of gold suddenly become seven young women, showcasing Méliès's pioneering special effects work and theatrical timing
• Satan's mysterious entrance and cabalistic hand gestures that magically transport the treasure into the strong box
• The chaotic chase scene where the transformed girls pursue and beat the miser, combining horror with slapstick comedy
• The miser's final despair upon discovering both his gold and the magical girls have vanished, leaving him trapped in his own greed

What Critics Said

Contemporary reviews from trade publications praised the film's magical effects and entertaining nature. The Star Film Catalog described it as 'most sensational in its mysterious scenes,' highlighting its appeal to audiences of the time. Critics noted Méliès's skill in creating theatrical spectacles for the screen, though some early film purists preferred the more realistic approach of the Lumière school. Modern film historians recognize the film as an important example of early special effects work and Méliès's contribution to cinematic language. The film is now appreciated for its role in developing the fantasy and horror genres and its demonstration of early cinematic magic.

What Audiences Thought

Audiences in 1902 were fascinated by the film's magical transformations and supernatural elements, which were unlike anything they had seen before. The combination of horror, comedy, and magic proved popular with theatergoers who were still discovering the possibilities of cinema. The film's brief runtime and spectacular effects made it ideal for the variety-show format of early cinema exhibition. Contemporary audiences particularly enjoyed the scene where the miser is chased and beaten by the transformed girls, which provided both spectacle and comic relief. The film's moral message about the dangers of greed resonated with Victorian-era values while still providing entertainment through its fantastical elements.

You Might Also Like