Shekara 1901

A chemist carries out a bizarre experiment with his own head.

A man, objecting to being filmed, comes closer and closer to the camera lens until his mouth is all we see. Then he opens wide and swallows camera and cinematographer. He steps back, chews, and grins.

A young woman becomes the eighth wife of the wealthy Bluebeard, whose first seven wives have died under mysterious circumstances.

An oppressive droning score makes this rendering of the Faust legend quite disturbing to watch. The film itself consists of a number of impressive ‘appearing out of thin air’ effects, some lavish costumes, sets and backdrops. A climactic sword fight between a man and the Devil is a standout scene.

A street level view from the sidewalk, looking along the length of 23rd Street. Following actuality footage of pedestrians and street traffic, the actors, a man in summer attire and a woman in an ankle-length dress, walk toward the camera.

A man attempts to engender a transformation of a giant worm into a butterfly.

A female impersonator giggles and flirts. By the following decade, many female impersonators would be shown doing their acts on the stage and in the movies; the Eltinge Theater on 42nd Street in New York is named for Julian Eltinge, the most famous of them. This was probably the earliest "name" example for the movies. Gilbert Saroni plays an exceedingly ugly woman who coyly flirts with her fan.

At the beginning of the scene Romeo in his gondola sings to Juliet a sentimental song, then goes away. Hardly has he departed when the colonnade falls to pieces, disclosing the devil. Juliet, frightened, runs to the window and calls Romeo. The latter attempts to enter and protect his fiancée, but at a gesture from the devil the window is instantly covered with a grating and Romeo makes frantic efforts to break it. The devil begins to dance a wild dance before Juliet, who is beside herself from terror. The devil gradually becomes the size of a giant (a novel effect). Juliet implores the statue of Madonna, which becomes animated, descends from its pedestal, and stretching out its arms orders the devil to disappear. (Méliès Catalog)

This early docudrama shows Auburn Prison and recreates the electrocution of Leon Czolgosz, the assassin of President McKinley of the United States.

“The picture [shows] a number of Esquimaux picking nickels from cracks in a board with their dog whips, in which sport they are very expert. In the background will be seen one of their "Topeks," a sealskin tent in which they live during their short summer.” (Edison catalog)

Our presidential hunter runs across the landscape and falls down in the snow, gets up with his rifle, and gazes upward at a treed animal which isn't in the camera's view. He fires a shot into the tree, then leaps on the ground to grab the fallen prey, a domestic cat, finishing it off with wild blows of his hunting knife while his companions, a photographer and a press agent, record the event that will be reported far and wide as a manly moment. Teddy then rides out of the forest followed by two companions afoot, never mind that they all originally arrived afoot. Perhaps it was funnier in its day than it is now, but apparently shooting cats was regarded as funny in those days. The larger point was to use a minor whimsy as a political criticism, in this case of Teddy Roosevelt's easy manipulations of the press. It was based on two frames of a political cartoon that had appeared in the paper a mere week before the film was made.

Time-lapse photography showing the one month-long demolition of the Star Theatre in New York.

In 1901 people in Belfast paid their tram drivers in carrots.

The famous acrobats in the above title appear in a marvellous acrobatic act. There are three barrels arranged on the stage. The boys, blindfolded, stand on opposite sides of the stage, and jump from one barrel into the other until they both land in the same barrel at the same time. They then jump backwards onto the stage over the two barrels. One table is then mounted upon another and the center barrel is placed on top. The brothers still blindfolded jump one each into a barrel and from them to the first to the second table and from the second table into the barrel on top of the second table. They then jump backwards onto the stage. This is pronounced by show people to be the most marvellous acrobatic feat that has ever been introduced. (Edison Catalog)

Filmed in 35mm and in black and white, this short silent film was produced by the English film pioneer R. W. Paul, and directed by Walter R. Booth and was filmed at Paul's Animatograph Works. It was released in November 1901. As was common in cinema's early days, the filmmakers chose to adapt an already well-known story, in this case A Christmas Carol by Charles Dickens, in the belief that the audience's familiarity with the story would result in the need for fewer intertitles. It was presented in 'Twelve Tableaux' or scenes. The film contains the first use of intertitles in a film.

Four black minstrels turn into white clowns and back again when they hit or kick each other.

A sorceress conjures up a bevy of beauties for a bachelor to peruse.

A daredevil rides his bicycle down a ramp and attempts to land in a pool of water as a crowd of spectators watches.

A magician's hat offers many surprises.

A magician explores two halves of his self: The Dwarf and the Giant.