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How Georges Méliès’ films are still influencing cinema, more than 100 years later

The filmmaker’s spirit of adventure is the subject of a VR Google Doodle.

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If you’ve ever watched a science fiction movie, or one that uses special effects, then you owe a debt of gratitude to Georges Méliès, the subject of today’s Google Doodle and one of the few people who truly deserve to be called a “visionary.”

One of cinema’s most important pioneers, Méliès worked in an age when the medium was changing rapidly a nd when the whole world was obsessed with scientific discovery, explorations, and expeditions to the furthest reaches of the planet. So it’s fitting that a Doodle created in another age of fast-paced cinematic change — our current time — honors him by using some fancy technology of its own.

Méliès, born in 1861, was an innovator par excellence, experimenting with effects in his films that blew people’s minds in an era when film itself was still startling to many people. Employing things like time-lapse photography, multiple exposures, dissolves, pyrotechnics, theatrical machinery, and more, he dazzled his audiences. It looked like magic. (You can see some of these effects on the Doodle’s background page .)

Méliès was working around the turn of the 20th century, a time of burgeoning scientific exploration and big dreams about the future of mankind. The filmmaker tapped into those through his experimentation with effects, and through stories he told tales of discovery.

Méliès’s most famous film is probably Le Voyage dans la Lune ( A Trip to the Moon ), from 1902. It’s a work of science fiction, inspired partly by stories by people like Jules Verne. In the almost 13-minute film, a group of space explorers travel to the moon, encounter a tribe of strange beings, capture one, and return to Earth. Méliès himself played the crew’s leader, Professor Barbenfouillis.

Méliès returned to that idea of being an explorer again and again in his movies, including 1904’s The Impossible Voyage , in which a group of explorers undertake an epic voyage to the center of the sun. And on May 3, 1912, Méliès released À la conquête du pôle (which translates to The Conquest of the Pole ). The full film is 44 minutes long, and it pokes sly fun at the then-recent South Pole explorations of Roald Amundsen, with effects that give the whole story a magical feel.

Inspired by Méliès’s yearning for discovery and fascination with exciting new technologies, Nexus Studios, the creators of the Doodle, decided to try their hand at one of today’s most interesting burgeoning cinematic technologies: virtual reality and immersive 360-degree video. Bringing those two effects together, they incorporated some of the filmmaker’s favorite trick photography moves — multiple exposures and disappearing subjects among them — to make a short film called Back to the Moon , in homage to Méliès’s 1902 movie.

To watch the film in its full virtual reality splendor, you’ll need a mobile device (or one of Google’s virtual reality devices ) and the Google Spotlight Stories app, available on Google Play or in the App Store .

Or you can watch it as a simple video below. If you click on the film as it plays, you can drag it around for the full 360-degree experience.

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Le Voyage à travers l'impossible (1904) Directed by Georges Méliès

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Movie Review

An impossible voyage.

US Release Date: 10-03-1904

Directed by: Georges Melies

Starring ▸ ▾

• Georges Melies as

The sun swallows a train.

Georges Méliès was the first true genius of cinema. When most filmmakers were content to film simple glimpses of human activity he was creating fantastic theatrical storylines using elaborate costumes and sets. A former magician he specialized in trick photography using dissolves and the technique of stop motion to make objects or people seem to appear or disappear. He also created the science fiction/fantasy genres.

An Impossible Voyage is almost a sequel to the more famous A Trip to the Moon ; both movies were adapted from Jules Verne stories. Like that movie it has a spoken word narration that explains the action taking place. Also like Trip to the Moon , Impossible Voyage features people going on a fantastic adventure that leads to outer space and beneath the sea. This movie was hand-tinted (meaning each frame was painted individually) which was the earliest type of color used in film. The process proved too painstaking, however, and it never really caught on.

The movie begins with the planning of an elaborate journey which will utilize a train, an automobile, several balloon dirigibles, and a submarine. The next scene is the mechanical preparations being made. This follows exactly the sequence of events from A Trip to the Moon .

In that movie a rocket lands on the moon which has a human face. It lands right in one of the moon’s eyes. In this movie the sun has a human face and a train being carried into space by the balloon dirigibles (it is called An Impossible Voyage after all) goes right into the sun’s open mouth.

Besides his trick photography Méliès was known for his whimsical slapstick type humor. In this movie the adventurers experience several seemingly deadly crashes. The narrator then calmly tells us that “fortunately everyone survived” or “no one was hurt”. These people even survive going into the sun by using a giant ice-box that they apparently brought along for just this purpose. They also survive being frozen and thawed back out.

With a 24 minute running time and color images An Impossible Voyage must have seemed like an epic fantasy adventure movie to audiences of 1904. Sadly it lacks the originality of A Trip to the Moon , it too closely copies that movie, which would remain the director’s masterpiece. Between 1896 and 1912 Georges Méliès made over 500 movies but by the start of the First World War he was out of the business completely. He died in 1938 at the age of 76.  

George Melies' An Impossible Voyage .

Georges Melies was the James Cameron of his day.  He was great at making inventive movies that took full advantage of the technology of the time and even pushed the envelope of what was possible onscreen.  What he wasn't so great at was creating characters that an audience could care about.  None of the adventurers in this movie have any distinguishing traits and so it doesn't generate emotional interest, merely a sense of wonder at the special effects.

Another thing Melies shared in common with Cameron was his willingness to make long movies.  As you say Patrick, at 24 minutes, this movie was an epic for the time.  And even though compared to other movies of the period this movie has a strong narrative, it's really quite a weak one and is merely a chance for Melies to throw his visual trickery on the screen. 

He's very much infatuated with his own special effects and wants the audience to admire them.  The opening scene in the workshop, for instance, we are shown all the moving props and the camera lingers on them.  Later, a model train is shown moving across the screen and then it moves across in the other direction, closer to the camera.  It doesn't move the story along, but just shows off the model train a second time.  The whole short is in need of a tighter edit.

Perhaps it's unfair to criticize such a groundbreaking film from 1904 and if this movie didn't feel so derivative of his Trip to the Moon , I probably wouldn't be.  Like many sequels to come, this one has more in it and probably cost more, but it's inferior to the original.

An impossible voyage comes to an end.

This movie is a case of running before you could walk.  As Scott wrote, their is no characterization.  Before Georges Melies attempted a lengthy fantasy film he should have created some characters.  The only one that stands out is the servant girl who does the slapstick.   I give him credit for trying, but the stationary camera was just to limiting for what he was going for.

Georges Melies was good at special effects for the time.   However, they mean little when it comes to a film narrative.  Obviously this guy was fascinated by science fiction, but he was hampered by the time period, making this movie more of a joke than exciting.  As William Shatner is credited as saying, "Special effects are just window dressing."

I love silent films, but not these types.  I prefer the ones taking place in contemporary  times.  Even if you do not like the story you can enjoy the history lesson unfolding before your eyes.  

Photos © Copyright Star Film (1904)

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The impossible voyage, le voyage à travers l'impossible.

Directed by Georges Méliès

Using every known means of transportation, several savants from the Geographic Society undertake a journey through the Alps to the Sun which finishes under the sea.

Georges Méliès Fernande Albeny Jehanne d'Alcy May de Lavergne

Director Director

Georges Méliès

Producer Producer

Writers writers.

Georges Méliès Adolphe d'Ennery

Original Writer Original Writer

Jules Verne

Production Design Production Design

Georges Méliès Star Film

No spoken language

Alternative Titles

An Impossible Voyage, The Voyage Through the Impossible, Viaje a través de lo imposible, The Voyage Across the Impossible, Viagem Através do Impossível, Whirling the Worlds, Die Reise durch das Unmoegliche, Journey Through the Impossible, Die Reise durch das Unmögliche, Viaggio attraverso l'impossibile, İmkansız Yolculuk, Le Voyage à travers l'impossible, 不可能を通る旅

Science Fiction Comedy Fantasy Adventure

Releases by Date

01 oct 1904, releases by country.

20 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Steve P 4

Film School Dropouts 2018

Revision - Pioneers of Film - Georges Méliès

When watching these shorts it's important to keep in mind how the audience would have watched them back in 1904. They would have been in a theatre and the music would have been played by a live pianist. The shorts didn't need intertitles because for anything complicated like The Impossible Voyage there would have been a live narrator, often known as a 'barker'. Leap forward to 2018 and you are usually watching something like this off YouTube, often with no narration and probably without your own live musical accompaniment. You quickly realise why someone may feel there's something missing. The Impossible Voyage is one of Méliès longest and…

Review by Tom Morton ★★★★ 2

Now THIS is more like it, I bloody love Georges Méliès. Not content with sending men to the moon a couple of years earlier, this time he sticks a bunch of people on some kind of wonderful flying train and blasts it into the sun. You'd think that people would burn up on a trip to the sun but Georges is smart - he sends up some ice! Unfortunately this leads to mass freezing, but luckily there's one person smart enough to start a fire - yes, on the sun - to thaw everyone out again. This is a film that definitely lives up to its title!

I love the creative visuals in Méliès films and the way he clearly…

Review by Will ★★★

The sets... unreal.

Review by Dave Taylor

A good chunk of the first half feels like filler, but still includes a pretty amazing effect of a bus (?) traveling through the mountains at high speeds.

Highlight was absolutely the sun gobbling up a ‘space train’ and spewing out an explosion of lava.

Man, kids these days are such pussies…we complain about 100 degree weather, while these muthafukas are landing on the sun and acting mildly uncomfortable!

Review by One Godfella 侍 ★★

As surely as there is a voyage away, there is a journey home.

Too much forced slapstick for my liking.

Review by Kenneth Kriheli ★★★

This is 101% of what Terry Gilliam dreams about 6 nights a week.*

*On the 7th night he doesn't sleep at all.

Review by Wesley Stenzel ★★★

Retreads a lot of the same visual and thematic ground as A Trip to the Moon , without nearly as much charm or innovation. It’s still relatively fun, but the lack of ingenuity and overly-long scenes make it my least favorite Méliès so far.

Review by Jim Film ★★★½

Georges Méliès had a celestial bodies fetish and you can't convince me otherwise.

Review by Joel Haver ★★★½

It’s hard not to admire just how much Méliès came out of the gates swinging. He was one of the first people to ever make movies and somehow created films that, over a century later, still manage to feel singular in their vision. The fact that Méliès would invent whole new techniques time and time again rather than compromise his vision is something we should all aspire to.

With that said, The Impossible Voyage  remains a chaotic watch. With Chaplin and Keaton’s rise came a rhythm, pacing and clarity to the action that just wasn’t here yet. For every beautiful scene there are three that are far too cluttered and drawn out with too many people on screen running about with seemingly no direction at all. Too many people, George!!

Nonetheless it looked fun to be in the Méliès mosh!

Review by Tom Spearing 2

How do you top shooting a rocket into the eye of the moon? You fly a train straight into the mouth of the sun, of course. This one may not be nearly as well renowned as Le Voyage dans la Lune , but it's every bit as bonkers, and arguably even more memorable than its thematic predecessor. Once again, this is Méliès' imagination running riot—a rickety automobile careening through the Alps; several horrific high-speed crashes that miraculously leave everyone unscathed; a sun that yawns before swallowing our travellers whole; an ice box designed to keep the explorers cool that accidentally freezes them solid; and then to cap it all off, an extended sequence back on earth aboard a submarine, which then proceeds to explode due to an engine malfunction.

There are enough crazy stunts and thrills in this to fill your average blockbuster. It's totally mad, and I love it.

Review by Joe ★★★★

Probably not one of the best Melies films (and plainly derivative of his most famous work), but there's a shot of a train flying off its tracks and into the sky that is somehow one of the most beautiful images I've ever seen in my life.

Review by Jonathan Castillo Rodríguez ★★★★½

The ship fucking exploded and they just started dancing.

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An Impossible Voyage (1904)

Rating: ★★★½, (le voyage a travers l’impossible).

France. 1904.

Director/Screenplay/Producer/Photography/Special Effects/Production Design – Georges Melies. Production Company – Star Film.

Engineer Kasilov stands up before the Geographic Society to unveil his ambitious plan for a vehicle that is a combination train, automobile, dirigible and submarine. He receives an enthusiastic response and construction begins. The vehicle is launched and begins a journey across the Alps, only for the car to crash into a crevasse and hospitalise members of the expedition. They continue onwards aboard the train. Thanks to the attached dirigibles, the train lifts off from the mountainside and travels through space, before crashing into the mouth of the sun. The members of the expedition seek refuge inside an icebox they have brought along but end up being frozen into a block of ice, before being thawed out and making a return to Earth in the submarine.

An Impossible Voyage was one of the films from early French film pioneer Georges Melies (1861-1938). Melies was originally an amateur magician who jumped upon the novelty of the movie camera soon after the Lumiere Brothers made the very first film in 1895. In almost no time, Melies discovered special effects trickery. This came about by accident when his camera jammed one day – when playing his footage back, the jump in the film appeared to make an object vanish. Melies quickly began experimenting with stop-action camera effects. His first such film was The Lady Vanishes (1896) in which he appears as a conjuror and makes a lady disappear in a puff of smoke. Melies’s films rapidly started to progress in sophistication and he discovered many of the modern special effects tricks – animation, superimposition, split-screen, miniatures, even the fade and the dissolve. He also built the first ever movie studio – which had only a single set – in his country garden in Montreuil. Melies made some 500 short films between 1896 and the eventual bankruptcy of his studio in 1914.

The film that Georges Melies will always be associated with is A Trip to the Moon (1902). It is an undeniable classic and its position has had Melies labelled the father of the science-fiction film. An Impossible Voyage was Melies’ successor to A Trip to the Moon and is a point where he was operating at the absolute height of his technical skill and artistry. Considering the primitiveness of filmmaking techniques during the day, the inventiveness of what he pulls off is extraordinary.

Georges Melies can be compared to his countryman and contemporary Jules Verne – indeed, Melies often borrowed freely from Verne, using Verne’s From the Earth to the Moon (1865) as the basis of A Trip to the Moon and conducting his own version of 20,000 Leagues Under the Sea (1907). Verne gained prominence by creating a series of adventures based on the new modes of transport that were just opening up in the Victorian era – of journeying across Africa by balloon in Five Weeks in a Balloon (1863) or the round the world trip in Around the World in 80 Days (1873) – or coming up with entirely new ones of his own – the idea of the submarine in 20,000 Leagues Under the Sea (1870); going to the Moon by being shot out of a cannon in From the Earth to the Moon ; of the warlike possibilities offered by the airship in Robur the Conqueror (1886) and Master of the World (1904).

Melies borrowed from many of these and created his own voyages extraordinaire in a similar vein to Verne. An Impossible Voyage is a case in point – the film seems construed as an amalgamation of all the new and exciting modes of transport that were suddenly arriving around the turn of the century – the train, the motor car, the dirigible airship, the still speculative ideas of the submarine and space travel. These have all been implausibly combined into one and the combination vehicle we see looks absurdly improbable – a train that buzzes along on its rails with two dirigibles attached above it at either end, for instance.

For its era, An Impossible Voyage is an amazingly sophisticated work. The design that has gone into it is amazing – this is true Steampunk back during the era where such was Victoriana’s fantasies of how technology would be rather than modern writers looking back with foreknowledge of how everything did turn out. The sophistication of some of the model work – in particular of the train passing along a bridge on its tracks or zipping up the mountainside – is extremely good. Melies even goes so far as to build cutaway sets of the interior of the train – especially clever being those of the submarine, which are constructed in a way to allow a view into two different compartments showing the drama as a fire breaks out in the engine room.

The film’s most imaginative and science-fictional scenes come when the train takes off from the mountainside and flies off into space. Melies has it passing stars, planets and comets before impacting into the mouth of the Sun. (Melies’s films, despite being cited as works of early science-fiction, more often sit as fantasy films in their depiction of The Moon and Sun with personified faces – one will not even bother discussing seriously the idea of humans being able to walk on the surface of the sun whereas in reality they and their craft would be incinerated before they even came within a few million miles). The sophistication of special effects techniques that depicts all of this is quite extraordinary.

Georges Melies was always an entertainer first and foremost. At heart, Melies’s films though were little more than glorified magic shows. Amid all of his discoveries Melies, for example, never discovered the concept of moving his camera. Films made during this era had not even yet discovered the idea of editing or breaking a scene up into closeups or multiple shots and so all of the scenes in Melies’s films take place in wide-angle master shots. His shows were exactly like stage shows where the camera remained in a fixed position in exactly the same place that the audience would sit and the trick effects would take place on the stage before it.

His marvels here are also undercut by a frequent slapstick element – scenes with the engineer kicking an obsequious servant who brings in a tray while he is working; the members of the expedition being clonked and knocked over in their rush to get aboard the departing train; the car crashing into and driving all the way through the dining room of an Alpine lodge; the slapstick chaos of the members of the expedition in their hospital beds. Especially cute are the scenes on the sun’s surface where the explorers try to hide from the heat by getting into an icebox (that has conveniently been brought along on the train) only for the explorer to open the door and find they have all been frozen into a single block of ice.

For a more detailed discussion of other Georges Melies films, see Melies Cinemagician (2011) and the documentary The Extraordinary Voyage (2011).

Full film available here

An Impossible Voyage (1904)

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Georges Melies's The Voyage Across The Impossible (1904)

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