aux Choux was his work. He never demonstrated personal knowledge of any such film. Since Alice Guy described her first version of La Fée aux Choux in 1939 long before any version of it was identified in any of the film archives or surviving catalogues, there is no justification for attributing it to Georges Hatot or to anyone else. The Photograph There is a photo of Alice Guy standing between Yvonne and Germaine Sérand. “In the photo of La Fée aux Choux,” Alice writes, “are my friends, Germaine and Yvonne Sérand…and myself.” Yvonne played the fairy in the 1900 version; both Yvonne and Germaine played in the 1902 Sage-Femme. Since Alice Guy called this photo La Fée aux Choux, there has been some confusion because the painted scene behind the three women is from Sage-Femme. Alice Guy claimed that she would never even have used the words Sage-Femme. The newspapers of 1902 and 1903 support her claim. Sage-femme was titled La Fée aux Choux when it was released in December 1902. The title change came later in the September 1903 catalogue. Before the 1900 version of La Fée aux Choux was discovered by Alison McMahan in a Swedish archive in 1996, this photo was the basis for the theory that the 1902 Sage-Femme was Alice Guy’s debut film. The 1900 La Fée aux Choux, with a single character, challenged this assumption. It is also hard to argue that the 1900 La Fée aux Choux is a copy of Alice Guy’s first film because it doesn’t match her description either. It has no cardboard babies, no farmer, and its backdrop, which Alice Guy said “shivered in the wind,” is secured by the fence standing on its lower edge. Since Alice Guy reported that her 1896 La Fée aux Choux had to be remade at least twice, the most straight-forward explanation is that there was a third film that came first, and that the 1900 and 1902 versions are the remakes. Since all three films are apparently different, we should probably call them a series. What Happened After Alice Guy repeatedly recounted that she was put in charge of production in 1897 after the success of the 1896 La Fée aux Choux. She writes that Léon Gaumont remodeled a residence for her on his property in Belleville to induce her to move six miles away from her delightful apartment on Quai Malaquais,