The stature of Georges Melies, once the master of cinema, had diminished so badly by 1912 that he was little more than a throwback to an earlier, primitive art form. One in which the camera seemed to be anchored to the floor, when narrative was a novelty, and when audiences could be awed by simple camera tricks. The Knight of the Snow has little plot, but what there is is poorly conveyed - due mainly to Melies apparent refusal to use intertitles. The sets are impressive, but they still hark back to an earlier era, and the special effects are all recycled.
Review of The Knight of the Snow
