Again, who says Méliès didn’t cut? In addition to that, this film is terrifically, inspiringly polycentral. The reason it’s so terrific is that, notwithstanding the fact that there are many focal points, they are all elaborated in quite an orderly and navigable manner. (Was Jacques Tati ever directly instructed and inspired by this material? Even if he wasn’t, the two of them are wonderfully kindred, in this particular quality.) The eye is led, calmly and carefully. That’s a great accomplishment, give how much destruction is going on everywhere.
More on reputation/reality. We remember Méliès for the supernatural stuff in his stories. That’s correct, but it’s not comprehensive. He had lots of other registers operating. Here, for instance, it’s more acrobatic than magical. In either, in every case, the resulting kinetics are so adept, generous, joyful.