The Little Match Seller is a 1902 British short silent drama film, directed by James Williamson, retelling the classic Hans Christian Andersen fable of the sad life and tragic death of a little match seller. This major fiction film of the period was, according to Michael Brooke of BFI Screenonline, “a serious attempt at depicting a person’s inner emotional life on film through purely visual means (there is no onscreen text of any kind), using trick effects not to provoke laughter but for serious dramatic reasons.”
BFI Screenonline reviewer Michael Brooke states out that the film, “shows a similar interest in the plight of the downtrodden,” but is, in most other respects, “a very different type of film,” to the director’s A Reservist, Before the War and After the War and The Soldier’s Return (both 1902), which, “were inspired by the experience of soldiers returning from the only recently concluded Boer War,” whilst this film, “is a very faithful adaptation of Hans Christian Andersen’s 1846 fable (which is brief enough to suggest that the original could have been read aloud during screenings), and instead of the other films’ scrupulously realistic presentation, Williamson here resorts to numerous special effects, mostly in the form of superimpositions.” “However, these are entirely true to the spirit of the original story, whose dramatic and emotional centerpiece is the series of visions seen by the little match seller when striking matches to keep warm,” and the film, "is as ambitious and innovative as A Reservist. The director, he concludes, “would continue to explore this new ground in later films such as The Old Chorister (1904).” —wikipedia
James Williamson (8 November 1855, Kirkcaldy, Fife – 18 August 1933, Richmond) was an early film developer and film director.
Williamson was born near Kirkcaldy, Fife, and raised in Edinburgh. In 1868 he moved to London where he was an apprentice to a pharmacist, and bought his own pharmacy in 1877. In 1886 he moved to Hove in Sussex.
Williamson originally processed film for other early movie makers, and then began production of his own features. Later he went into the movie equipment manufacturing business with his son Stuart, an engineer.
One of his most notable and innovative films was The Big Swallow (1901), in which a man eats the cinematographer and his camera. He slowly approaches the viewer, walking into such an extreme close-up that his gaping mouth fills the screen, which goes black. In the same year he directed the film Fire!.
His pharmacy and photographic business was near G. A. Smith’s St. Anne’s Well Pleasure Garden, which had originally been… read more