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Synopsis
In an effort to secure a promised inheritance, Onésime invents a time machine that speeds up activity on earth, hyper-animates men and machines, and telescopes the human life-cycle.
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Director
Director
Producer
Producer
Writer
Writer
Studio
Country
Language
Alternative Titles
Simple Simon Clock Maker, Batty Bill's Bustle Makes Everyone Hustle, Onésime, Clock-Maker, Onesime, Clockmaker
Theatrical
01 Nov 1912
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France
France
More
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One of the Onésime (Simple Simon) series, with its cartoonish hero speeding up time so he can get an inheritance earlier.
I like how films of this era use editing techniques to mess with the structure of time and space – time as overfast or slow, trick photography making things appear, disappear and transform – a combination of sci-fi and magic.
My favourite example in this is the baby who gets conceived, born, and bounced into adulthood on a couple's wedding night in a beautifully executed gag.
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Onésime was a character from a comedic series produced by Gaumont, and if this particular entry is a good indicator, it was pure insanity. This feels like something the Dadaists probably loved. Takes comedy to absurd levels that ignore the rules of time and space. Reverse and fast motion are used to create bizarre and hilarious vignettes. The one with the baby is probably my favorite. Stuff like this always make it clear how cartoons' sense of humor owes a lot to silent comedies.
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loved the visual of the protagonist's child growing up + building the brick wall. some peeks into life in the 1910s as well.
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We do love a hustler for money.
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See this is why SI standards are under such high security.
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Capital + speed = an early death.
Adroit comedy of chronometry vs. life, beating the finale of Rene Clair's Paris qui dort to the punch by twelve years.
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I don't care that it's 8 minutes, it counts.
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Esto ya podría considerarse como una ciencia ficción.
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Dumb fun in the form of fast motion gags. The family one was wonderfully absurd.
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Very cleverly done and trés amusant!
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Um fantástico experimento de criação de humor físico a partir de um elemento específico do cinema: a capacidade de dominar o tempo. A câmera como essa ferramenta moderna que surge num mundo acelerado e que começa a acelerá-lo ainda mais; ao mesmo tempo, o cinema como a técnica de criação de fantasia da modernidade, pela ilusão da realidade a partir da própria realidade e com a manipulação de seu tempo.