Excelsior: Or He Who Thinks He Is Something - A Spirited Journey Through Early Cinematic Illusion and Theatrical Grandeur!

Stepping back into the cinematic cradle of 1902, we encounter “Excelsior: Or He Who Thinks He Is Something,” a curious artifact from cinema’s nascent years. This film, directed by pioneering filmmaker Edwin S. Porter for Edison Manufacturing Company, offers a captivating glimpse into the evolving language of early motion pictures. While rudimentary in its technical execution compared to modern standards, “Excelsior” pulsates with a vibrant theatrical energy that speaks to the origins of cinema as an extension of live performance.

The narrative revolves around a grandiose delusion. A young man, convinced he’s destined for greatness, embarks on a series of ill-conceived adventures fueled by his inflated sense of self-importance. He encounters various characters – a smitten maiden, skeptical townsfolk, and a cunning villain – who become entangled in his whimsical escapades. “Excelsior” unfolds like a silent play, with actors employing exaggerated gestures and expressions to convey emotion and plot progression.

The cast, largely comprised of unknown stage actors, deliver performances characteristic of the era. Their movements are deliberate and theatrical, reflecting a tradition where every gesture was intended to communicate clearly to a large audience. The lack of dialogue necessitates a heightened reliance on visual storytelling. Facial expressions become windows into characters’ souls, while actions speak volumes in the absence of spoken words.

Technical Innovations and Theatrical Flair

“Excelsior” showcases several technical innovations that were groundbreaking for its time. Porter employed innovative editing techniques to create a sense of narrative continuity. Scenes are seamlessly stitched together, albeit with visible transitions that highlight the nascent stage of film editing.

Furthermore, the use of close-ups – a technique rarely seen in early cinema – allows viewers to connect more intimately with the characters’ emotions.

The film’s theatrical roots are evident in its staging and camerawork. The scenes unfold on elaborate sets designed to mimic real-life environments. Porter utilizes wide shots to establish setting and context, while medium shots focus on character interactions and individual moments of drama.

Themes of Ambition, Deception, and the Illusions of Grandeur

Beyond its technical achievements, “Excelsior” delves into themes of ambition, deception, and the illusions we construct about ourselves. The protagonist’s journey serves as a cautionary tale against unchecked egotism and the dangers of mistaking fantasy for reality.

His unwavering belief in his own greatness blinds him to the truth, leading him down a path paved with misadventures and ultimately exposing the hollowness of his grand delusions.

“Excelsior: Or He Who Thinks He Is Something” provides a fascinating window into the early days of cinema, when filmmakers were still experimenting with the potential of this new medium. While its technical simplicity might seem quaint today, the film’s enduring themes and theatrical energy continue to resonate with viewers, offering a timeless reflection on human ambition and the seductive power of illusion.

It serves as a reminder that even in the earliest iterations of cinematic art, filmmakers grappled with complex narratives, universal themes, and the search for meaning through the powerful medium of moving images.