Horst in Translation (filmreviews@web.de)
It's quite a lot of fun to watch Amy Muller dance, jump and trip across the stage in this short movie. Quite a pity these 13 seconds are the only footage of her ever put on tape, while some other dancers reappeared a couple times. Her dancing is elegant and childlike at the same time. I totally wanted to join in and dance with her. Her white dress is truly a thing of beauty, almost a wedding dress and her huge smile is truly contagious.This is one of my very favorite early silent films and even with its short running time it left a lasting impression on me. Thank you Miss Muller.
cricket crockett
. . . for modern audiences, who apparently "cannot handle the truth" that their great- (great-?) grandparents enjoyed fare that nowadays would be rated NC-17, such as AMY MULLER, before it was stigmatized by organized religion, and quarantined away from consenting adults by the Motion Picture Association of American (MPAA) into a back room of a seedy video store, or the confines of private homes. Ironically, the MPAA is a reincarnation of something America's original pornographer, Thomas Alva Edison, created when he decided that he did not want to be a pornographer anymore, to placate his wife and her fellow Junior Leaguer cohorts when they came down on him for churning out so much sleaze with the world's first 100,000 feet of film stock. As the BOSTON HERALD said at the time, the original tinted prints of AMY MULLER were absolutely orgasmic, as she spins on one toe while holding her other foot above her head; later doing the splits mid-cartwheel to show the world what she has. However, this censored black & white MPAA-style version is like watching the WIZARD OF OZ on a monochrome TV set!
Snow Leopard
This short movie featuring vaudeville dancer Amy Muller is similar in its basic format to the better-known 1890s features starring Annabelle (Whitford) Moore. Muller's act has a different style and appearance, and this is still worth seeing. At the time, it was also released in a hand-tinted version, which apparently no longer survives, and with the tinting plus a clean original print, it probably looked very good.Muller's specialty was dancing on her toes, and she gives some samples of that as well as demonstrating a couple of her other skills. It's also hard not to notice her very puffy, frilly, dress, which creates part of the effect. Although the print is rather blurry and has a couple of larger defects, you can still tell that she has plenty of energy and talent.There are surviving 'Annabelle' features both with and without the hand-tinting, and the tinted features are noticeably different. It seems likely that this feature also might look pretty impressive with flashes of different colors that coordinate with the dance movements. Even without the tinting, it still has some good footage worth seeing.
Kieran Kenney
In this very brief film, dancer Amy Muller does a very energetic dance, while wearing an incredible dress. The puffy sleeves are fabulous. Amy's appearance calls to mind Mary Pickford, and pre-dates her first screen appearance. She shows off her flexibility quite impressively as well, with a couple of high kicks and an effortless hand stand.This was, apparently, Amy Muller's only performance in a film, which is a shame, since she's clearly very talented. Her performance is not as visually striking as Annabelle Moore's serpantine dances, nor is it as sexy. I'd hate to assume that 1896 audiences were as innocent and as easily scandalized and aroused as most modern-day viewers tend to believe. This could hardly be the raciest of productions of the time. Today's standards, at least, find it charming and amusing. It's a cute piece of work that I recommend for those seeking something besides the Annabelle loops.
AD
