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This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Worth seeing just to witness how winsome it is.

A man is arrested for a crime and, while he awaits his judgement in his prison cell, he recalls how he came to this point. Comparatively ambitious this little film from Pathé in France in terms of narrative as it takes several scenes to tell the story and also has a flashback sequence where we get an element of back story. At the time most stories were a lot simpler than this so praise to it for that. It is very much a morality tale with no real complexity or debate but to moan about this would be splitting hairs.Technically you can see the makers playing with the media trying out some things. Most notably is the dream sequence. It does look clunky inset in part of the screen but it is clever and ambitious at this point even if it isn't totally successful. They also try out the dissolve to join scenes – a device that they don't use very well and understandably gave up on after this because it is a bit messy. The use of a backdrop instead of depth sees them forget the shadows as well but this was formative times and it is interesting to see these things in play.

This film is highly reminiscent of the Edison film "Execution of Czolgosz"--a recreation of the execution of the man that murdered President McKinley. The Czolgosz execution was re-staged and many people believed it was the real thing, though today's audiences would easily be able to figure out it was faked. This is much like this French film from the exact same year. In fact, it was not uncommon for companies to "borrow" ideas from other ones and I'm not sure which of the studios (Edison or Pathe) really made their film first.The first portion of the movie is a relatively dull story about a guy who murders another, is apprehended and sent to prison. While there are real sets and plot (making it better than MOST films from 1901), the thing looks pretty cheesy. That is, until the very end. Then, to my utter surprise and initial horror, they do a pretty realistic guillotining of the prisoner and you see the head pop off!! If your kids want to see a very, very old film, show them this one--it's creepy but cool and guaranteed to make them laugh!

This is an ambitious effort for a movie made in 1901. Not only is the plot rather involved, taking several scenes to tell the whole story at a time when most narrative movies consisted of only a handful of developments at the most, but it also experiments with its techniques. Not all of it works, but despite some flaws, it's interesting, and it's relatively successful at what it set out to do.The story combines a morality play, of the kind that became very common over the following decade, with a couple of efforts to provide commentary and/or additional background on the events. None of that was entirely new, but it was rather enterprising to try to put so much together at once. The story itself is not so interesting as some of the ideas that they used in filming it.In terms of technique, the highlight is a dream sequence that fills in the audience on the background of the criminal who is the main character. The technical side now looks rather crude, but it was certainly a worthwhile effort, and at least the idea was good, as an attempt to add some depth to an otherwise straightforward story.Another experimental device is the use of dissolves each time the scene changes. There's no reason why it couldn't work, and this was not the only movie of the era to try it, but of course it did not catch on. Still, the combination of distinctive features gives this short movie some interest over and above the story content and the sometimes rudimentary techniques.

An early attempt by Zecca, Pathe's leading director in this period, at scene changes. All of them are done by fade. This technique would be abandoned, resulting in the standard French look through the 1920s, most notably in Louis Feuillade's movies, in which the camera sits in one location. The result is a much more subjective camera than the typical American style.