His version, the first appearance of Arabian Nights in Europe, was published as Les mille et une nuits, between 1704 and 1717.

Galland had heard the "Aladdin" story from the Maronite traveller and storyteller Hanna Diyab, in Paris, probably in the French language.

One day, he meets a sorcerer who takes him to an underground palace where he finds a lamp with marvelous properties.

After many adventures, Aladdin brings back home the lamp and, thanks to this talisman, he and his mother acquire an immense wealth which allows him to marry his beautiful princess.

[3] The film was produced by Pathé Frères and directed by Albert Capellani on a scenario written by André Heuzé.

[2] Ian Wojik-Andrews relates Aladdin to A Trip to the Moon to conclude that both films are "important landmarks in the history of children's cinema and film, not just because they are two of the earliest adaptations of children's literature, but because in them Méliès and (Capellani) respectively invented and developed what we call now special effects.

"[5] Richard Abel details in particular some of the tricks used: " In the opening tableau, for instance, Aladdin's desire is represented in an unusual dream image: while he sleeps in the foreground, a globular-edged frame fades in (as if attached, like a plaque) over the background wall, within which his double lifts a bedside curtain in order to pledge his love to the reclining princess."

In the scene where a green giant appears, "an off screen platform in the foreground produces the illusion of his size.

"[6] The film has also been noted as characteristic of Pathé's "interest of revelation of space as such, which is (...) marked by the panning across sets in Au Pays Noir and Aladdin where the camera follows a character past a long backdrop.

"[7] Richard Abel notes that Capellani not only uses pans but also multiple shot scenes "that trace Aladdin's movements through adjacent spaces", an early example of continuity editing.