Méliès Encore: 26 Additional Rare and Original Films by the First Wizard of Cinema

The films collected here are presented as in the earlier set, in chronological order with excellent new music. Although the print quality is variable, most look very nice; five boast beautiful, original hand-coloring, while another five have original English narrations written by Méliès. Two are fragments, as the complete films are lost. As a bonus, this collection also includes two films in the Méliès style by Segundo de Chomon, which for many years were misidentified as Georges Méliès’ own work

Défense d’afficher (1896), a comedy, is presented from a very-good print, which appears to be 35mm, with good contrast and very-good clarity (26 seconds).
Le manoir de diable (1896), a comedy trick film, has been transferred from a good reduction print that may be 9.5mm in gauge. The small-gauge print renders a picture that is detailed enough to clearly see the film’s action (1 minute).
L’hallucination de l’alchimiste (1897), a comedy trick film, is presented from a very-good 35mm color-tinted print that has been well excuted and renders a clear picture. Fantastic and astounding for an 1897 film (2 minutes).
Sur les Toits (1897), a comedy, is mastered from a very-good 35mm print that appears to be 35mm, and may be a tightly cropped (1 minute).
Bombardement d’une maison (1897), a drama, is presented from a good to very-good print that appears to be 35mm. The picture is slightly jumpy and goes in and out of focus, possibly indicating a slightly shrunken source print (1 minute).
Combat naval en Grèce (1897), a drama, has been transferred from a very-good source print that appears to be 35mm, rendering a picture with a broad grayscle range and very-good image details (1 minute).
L’omnibus des toqués ou Blancs et Noirs (1901), a comedy trick film, is presented from a very-good source print that appears to be 35mm. Some of the print wear is emphasized by the video transfer and/or disc compression, rendering a perhaps rougher picture than could have been presented (1 minute).
L’oeuf du sorcier (1902), a comedy trick film, is mastered from a 35mm source print that features very-good image detail and a broad range of graytones that are well-rendered in the video transfer (2 minutes).
Éruption volcanique à la Martinique (1902), a faked actuality film, is presented from a source print, with very-good picture details, that appears to be 35mm. Waiting for something to happen is nearly fruitless (1 minute).
Les aventures de Robinson Crusoë (1902), a drama, has been transferred from a fragmentary source print that was duplicated from a hand-tinted color print, but is itself black & white. The very-good print appears to be missing the beginning of the film and a logical ending, and is partially marred with beginning print decomposition (1 minute).
La flamme merveilleuse (1903), a comedy trick film, is presented from a good reduction print, that appears to be 16mm gauge. The source print is soft in its image quality, with closed-up shadow details and some persistent frame jitters (2 minutes).
Un peu de feu S.V.P. (1904), a comedy, has been transferred from a very-good to excellent 35mm print fragment (8 seconds).
Les apparitions fugitives (1904), a magic trick film, is presented from a good to very-good print that appears to be 35mm, and is slightly flat in its grayscale range and of very-good image quality (2 minutes).
Le juif errant (1904), a religious drama presented with descriptive narration in English, has been transferred from a very-good source print, assumed to be 35mm, that was duplicated from a hand-tinted color print, but is itself black & white (3 minutes).
Dêtresse et charité (1904), a drama with descriptive narration in English, is presented from a very-good soure print that appears to be 35mm, rendering a reasonably clear picture that is a little detailless in its highlights and plugged up in its few deep shadows (10 minutes).
Le baquet de Mesmer (1904), a magic trick film, has been transferred from a color source print, that appears to be 35mm, with reasonable image clarity and with some moderate print damage and beginning decomposition. The print appears originally to have been processed in sepia colortones, with hand color-tinting in blue, yellow, red and orange (3 minutes).
L’ile de Calypso (1905), a drama presented with descriptive narration in English, is presented from a very-good to excellent print that appears to be 35mm and is relatively free of print flaws. The image is reasonably stable, though a bit soft in image detail and a little flat in its grayscale range, rendering an overall pleasant viewing experience (4 minutes).
Le dirigeable fantastique (1907), a comedy, is presented from a very-good to excellent color-tinted print, that appears to be 35mm, with very-good image detail and a broad range of graytones (2 minutes).
Robert Macaire et Bertrand, les roi de Cambrioleurs (1907), a comedy with descriptive narration in English, has been transferred from a very-good to excellent print that appears to be 35mm gauge. The print features a broad range of graytones, very-good image detail, and moderate amount of print flaws. The film includes a Méliès rarity — exterior location footage (11 minutes).
Deux cent milles sous les mers (1907), a drama presented with descriptive narration in English, is presented from a poor reduction print that appears be 16mm (and to have been duplicated multiple times), which is contrasty, flat and gray with nearly featureless highlights and plugged-up shadows. Very hard to watch, this presentation has been prepared from what may be the sole surviving print of this film (10 minutes).
Le mariage de victoire (1907), a comedy, has been transferred from a very-good to excellent American release print (that appears to be 35mm), which is finely-detailed and features a balanced range of graytones, although missing highlight details in some shots. The film features a couple of Méliès rarities — exterior location footage and a medium close-up shot (8 minutes)
Satan en prison (1907), Excursion dans la lune (1908), François ler et Triboulet (1908), Hydrothérapie fantastique (1909), Le papillon fantastique (1909) and Le vitrail diabolique (1911)