Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Michael_Elliott Santa Claus (1898) *** (out of 4) This early British film is one of the first to show Santa Claus. The film is pretty simple as a couple kids want to stay up to see Santa but their mom makes them go to bed. We then see how Santa gets into their room without waking them up. This film runs 75-seconds so naturally one shouldn't expect a full story but it's interesting to note that they were at least trying to tell something and this is a full five years before THE GREAT TRAIN ROBBERY. What's interesting when viewing this film today is the look of Santa as they have him a lot thinner than we are use to see and he's also wearing more of a robe than an actual suit. The special effects used in the film are certainly primitive if you compare them to the stuff of today but for 1898 they're actually pretty good. I thought the effect of the mother turning the light off was something incredibly simple but the visual of it was terrific.

Pierre Radulescu Is it magic lantern or already a movie in its own rights? I would say it's still in between: the children are dreaming of Santa Claus, he's making his appearance in some kind of nineteenth century UFO in the upper corner of the screen, then by some magic he enters the room. Still thin, not the fat guy of today's commercials, still dressed in a robe, no boots, no trousers; definitely the Santa of our great-great-grandfathers' dreams.This movie proves the genius of George Albert Smith: he was still in transition toward the cinematic specific, while resolutely designing the grammar of the new art.Well, this is fine, but the question remains: this apparition of Santa, is it a dream, or a parallel action? You know, that's with the great movies: they have open endings, leaving the outcome for us.

Cineanalyst George Albert Smith was one of early cinema's most important pioneers; he was, perhaps, even more innovative than his more acclaimed contemporaries, namely, Edwin Porter and Georges Méliès. He is surely less popular because he didn't create as elaborate of story films, but he did pioneer many narrative techniques and opened up new possibilities for the art form. In 1898, the year of this picture, fiction films were still in their infancy. "Santa Claus" involves a one-minute, single-scene story of Santa Claus visiting two children as they sleep. Yet, this was the normal length and narrative simplicity of early fiction films, and Smith's presentation of this story was innovative.One point of interest of this film is the appearance of Santa Claus, although he had already appeared in previous films. Additionally, seasonally-timed releases began early in film history, and Smith having made this film in September (see "The Beginning of the Cinema in England" by John Barnes) would have allowed exhibitors time to purchase it for the Christmas season. By the end of the 19th Century, Christmas had essentially become the holiday that we know today, including some of the commercialism. American cartoonist Thomas Nast had already transformed the image of Santa Claus. In England, however, this film has a rather thin Santa with a loose robe. Nevertheless, he's readily recognized, and the story follows Santa entering a home through the chimney and delivering presents to children as they sleep.Another interesting aspect of this film is it's the earliest one I've seen or heard of which includes its title within the film--lettered at the beginning, as is the case with most movies since. In the beginning, films didn't include their own titles within the picture, but catalogues would list the titles of the films and exhibitors would often either create their own title card slides or have a lecturer inform audiences verbally of the titles of films. Later, in such films as "The House That Jack Built" (1900) and "Dorothy's Dream" (1903), Smith pioneered the use of intertitles.Most interesting, however, is Smith's use of then novel trick effects to present the film's narrative. Smith stopped the camera to cover the set in black drapes to represent darkness after the nurse turns off the lights for the children to sleep. Although it's obvious today that drapes cover the stage, it was a creative effect then, especially since the black background was needed for the following multiple exposure photography, which is the film's most brilliant aspect.Somewhere from around July to October of 1898, Smith made at least six films that employed the multiple exposure, or superimpositions, trick. It's somewhat unclear whether Smith or Georges Méliès introduced this technique to motion pictures. Smith tried to patent the application of it to motion pictures, but that was frivolous since it was already in use in still photography. The earliest film that I know of to use superimpositions is Méliès's "The Cabinet of Mephistopheles" (Le Cebinet de Méphistophélès) (1897), which appears to now be lost. The uncertainty is somewhat moot, however, given that Méliès and Smith are known to have had discussions around the time of these inventions, and both filmmakers were leaders in exploring the possibilities of the art form.As in Méliès's film, Smith used double exposure for ghostly images, but in others, such as "Santa Claus", he masked the camera lens for a circular vignette of the secondary image within the original scene. Smith seems historically uncontested in having introduced masking to cinema. Before entering the business of film production, Smith was a magic lantern lecturer, and the vignette scene-within-a-scene images on magic lantern slides were surely his inspiration for these films. In addition to "Santa Claus", Smith created a scene-within-a-scene as a vision presented by a supernatural being in "The Corsican Brothers", "Cinderella" and 'Faust and Mephistopheles'. "Santa Claus" seems to be the only one of these multiple-exposure experiments from 1898 that still exists today (outside of a few stills). Additionally, the "vision" in "Santa Claus" is somewhat different from those described in his other films.The film allows for some interpretation of its vision, too. On one hand, the trick allows for the presentation of parallel action without crosscutting between shots, which probably makes this the earliest instance in film history of showing two simultaneous actions of differing locations (the children in bed and Santa Claus on the rooftop). In later films, such as Méliès's "Le Voyage dans la lune" (1902) and Porter's films "Life of an American Fireman" and "The Great Train Robbery" (both 1903), filmmakers used temporal repetition to present parallel action, or to show events from different perspectives. The earliest instances of crosscutting between shots that I've heard of began with Vitagraph and Pathé productions around 1906.On the other hand, the vision and Santa Claus may be the children's dream. The catalogue description provided by Barnes supports this interpretation, as it describes the effect as a "dream-vision". Additionally, Santa Claus doesn't appear until the children appear asleep. This is, again, probably a first in film history. Porter used the same technique in "Life of an American Fireman", and other filmmakers soon used the multiple exposure technique, if not a similar circular mask, for dreams and other visions. The earliest matte shots, such as in "The Great Train Robbery", too, I believe, used masking.I prefer to consider the vision both a dream and an instance of parallel action, and it's certainly an instance of parallel action whether or not it's a dream. Both of these elements would introduce new dimensions to cinema. Shortly after this film, Smith introduced the representation of dreams in separate scenes in "Le Me Dream Again" (1900). He was a remarkable filmmaker.

boblipton Although D.W. Griffith is usually honored as the inventor of modern film grammar, most of the groundwork was laid down a decade earlier by George Smith of England. This is one of his early films.But even this particular Athena did not spring fully born from the mind of Zeus, and we can see that Smith is using a lot of magic lantern grammar -- the children dream of Santa and he appears in a small circular image in the upper right corner, straight out of the preceding technology's grammar. This particular technique would not vanish for another decade and a half -- and arguably is still in occasional use in such peculiarities as SHERLOCK JUNIOR and its successor THE PURPLE ROSE OF CAIRO as well as Jeunet's UN LONG DIMANCHE DE FIANCAILLES. Another point of interest is the title of this movie. Although Clement Clarke Moore's poem, 'A Visit from Saint Nick' was well known and popular, it's a Dutch and New York and hence American phenomenon. What was an Englishman, with their Father Christmas, doing playing with the idea? It seems to me that Smith may have been a far more important figure in popular culture than even I thought.