Nice exchanges between the man and the woman. All these Méliès films are extremely male in attitude and perspective. That’s a limitation, but it’s not necessarily a problem. (That’s why everyone needs a voice, and a forum. That way we don’t have to apologize for or condemn innocent/appropriate expressions just because they’re incomplete.) So the male viewer sees the beautiful woman, and identifies with the figure on screen that interacts with her. And the beautiful woman keeps turning into this leering cook-like guy. What can we make of this? The ideal and the real? What we want and what we get? Pastoral subjects, and the exigencies of labour?
Surprise! Features a number of very nice transitions.