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Absolutely brilliant

There are better movies of two hours length. I loved the actress'performance.

Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

The film is set in a kitchen from long ago--the type with lots of staff for a manor home. The chef is trying to work hard but his helpers are all a bunch of jerks. When he leaves the room, they strangely start doing acrobatics and fight--anything but work. And, when he returns, they get back to their work as if nothing had happened. Soon, however, they all fall asleep and one of the workers has a trippy dream that looks like they've been taking LSD!! An elf-like guy appears and begins cutting off their hands--and the hands independently continue their work for them! Thank goodness that the little guy puts their hands back when they are done---otherwise this would have been truly horrifying.The special effects were quite good for 1908 and the film is darkly funny. My only complaint is near the end when the elf draws on the guy's head--it does seem like they were padding the film here (and I noticed one of the other reviewers felt the same). Still, a wild and weird film that you ought to see if you like early cinema.

To prepare a huge dinner at the Schloss kitchen requires a lot of work for the servants who must be locked up in there and on permanent call due to this Herr Graf's insatiable appetite( regarding the meals, not the servants, well… only by now… ). This certainly causes a lot of fuss and confusion in the kitchen.An approximate idea of what usually happens at the Schloss kitchen can be seen in the short film "Le Rêve Des Marmitons" ( The Kitchen Boys Dream ) (1908), wherein the staff of another peculiar kitchen shares the same thrill as the one in the Schloss although with some weird variations.In the picture while the staff are focused on cooking in a chaotic but merry way, a gnome play tricks on them ( well… through in the Schloss corridors you can easily find a lost-soul, tormented ancestor of this Herr Von, but… a gnome in the kitchen?!, no way!... ). This bizarre creature will do his mischief when the whole kitchen service dozes off; he chops off their hands that strangely begin to do efficiently the duties that belong to their owners, such as preparing the food, arranging the table linen or balancing the accounts. But during such bizarre rest, there is also time for leisure and a fly with artistic preoccupations draws funny faces on the bald heads of some kitchen cooks. Finally the spell is broken and-alas- the usual and noisy kitchen hustle and bustle resumes.Who can direct and imagine such an extravagantly strange picture?: Herr Segundo de Chomón, who but him?!… Thanks to his camera tricks and original inventiveness, such incredible stories are come to life for the joy of silent film fans; a gallery of the most early wonderful tricks that made him famous as one of the most important pioneers in animation techniques. These are little works of art wherein the most astonishing situations and strange creatures are made possible before our very commoner or aristocratic eyes. Sadly, this time there is no "Pathécolor".And now, if you'll allow me, I must temporarily take my leave because this German Count must explain to the Schloss chefs the fifty-course menu of tonight.Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com

When the entire kitchen staff falls asleep from exhaustion, a dwarf appears and animates various objects via stop motion -- including their hands, which he cuts off while they snooze -- to do their work.One of Georges Melies' themes appears in THE TIRED TAILOR'S DREAM, which de Chomon has borrowed for this short. His production values are greater than those of Melies (this kitchen is staffed with eight people, whereas Melies' films on the theme are typically solo performances), but de Chomon pulls out all stops, including the macabre chopping off of hands, wicker baskets that weave themselves and flies that draw faces on bald heads. The last feels a bit like padding to me and lesser, thereby, than the stuff Melies did.