Movies 1901
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- Factory workers including child laborers walk towards a camera and interact with it.
- DirectorJames WilliamsonStarsSam DaltonA 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.
- DirectorGeorges MélièsStarsGeorges MélièsJehanne d'AlcyBleuette BernonA young woman becomes the eighth wife of the wealthy Bluebeard, whose first seven wives have died under mysterious circumstances.
- Sir Thomas Lipton's Cup Challenger Shamrock II in a squall off Sandy Hook.
- DirectorRobert W. PaulA satire on the way that audiences unaccustomed to the cinema didn't know how to react to the moving images on a screen - in this film, an unsophisticated (and stereotypical) country yokel is alternately baffled and terrified, in the latter case by the apparent approach of a steam train
- DirectorFerdinand ZeccaA well-dressed middle-aged man is enjoying a drink at a table with a pretty young woman. He flirts with her, and she seems not to mind his attentions. But is it all too good to be true?
- DirectorGeorges MélièsStarsGeorges MélièsIn this trickery extravaganza, Excelsior, the wizard of illusion, pulls out a handkerchief from his pocket, and after that, everything is possible in his rare and spectacular show.
- DirectorJames WilliamsonFirefighters ring for help, and here comes the ladder cart; they hitch a horse to it. A second horse-drawn truck joins the first, and they head down the street to a house fire. Inside a man sleeps, he awakes amidst flames and throws himself back on the bed. In comes a firefighter, hosing down the blaze. He carries out the victim, down a ladder to safety. Other firefighters enter the house to save belongings, and out comes one with a baby. The saved man rejoices, but it's not over yet. Another resident appears upstairs. He jumps.
- StarsJoe GansTerry McGovernWith the exception of this film there are absolutely no genuine moving picture films representing genuine prize fights on the market. The prize fight films, so-called, are either taken by the fight promoters and retained by them for exhibition, not on sale and cannot be procured, or else they are the boldest fake reproductions put up the day following the fight by cheap, so-called fighters, who endeavor, to the best of their ability and under the direction of the enterprising photographer, to represent or reproduce as nearly as possible the scrap which occured the evening before between the genuine principles. It is easy to see how very little real value films produced in these ways possess for the average public, which quick to see that the so-called priniples in the fight are not the men they are advertised to be, and the fight is not the real thing. This is not only a genuine picture taken while the fight was in actual progress, but the only picture of the kind which can be procured, and the only film which represented the Brooklyn Terror, Terrence McGovern, actually engaged in one of his most famous fights. All of our patrons do not approve of prize fights, but all must admit that no subject shows such wonderful spirit, motion, life and action as a genuine prize fight, and the enormous popularity which these films have enjoyed justifies our patrons in investing in a set of them. The Gans-McGovern fight took place in Chicago in the month of November, 1900. The enormous arena was brilliantly lighted by over 600 electric arcs, making the scene as bright as day, and every detail from figures to the remotest corner of the auditorium, as well as the prize ring itself, is accurately and truthfully depicted in this wonderful film. The complete set embraces 600 feet of film, shows all the preliminaries of the fight, the care of the principals by their seconds and two rounds of as fast and furious fighting as was ever seen in the prize ring. McGovern pursued his usual tactics, went in to knock out his opponent without delay, and as Gans was clever on his part, one of the most brilliant and wonderful exhibitions of sparring ever witnesses was caught by our camera and is here reproduced for the benefit of our patrons.
- StarsBessie GordonMinnie GordonThe scene is a theatre stage with a painted panorama of French garden, with a central alley between lawns, with a couple of marble steps and balcony in front, and a line of trees in the background. Two young women step in front of this scenario, one in black, and the other in white knee-length skirts and sleeveless shirts. Both are curly blondes, keeping their hair in place by means of ribbons. They have 8-ounce boxing gloves (228 grams) well tied to their wrists. They box each other in fast, intuitive action, with not much protection. Most punches end on the opponent's leather clad fists, but several reach their bare arms, and they exchange at least 20 punches to head and chest, at close quarter and with considerable power, showing that both sisters had reasonable training in boxing, and were not afraid of taking punches themselves. The girl in black seems to dominate most of the 1m30s round, though near the end the girl in white does a courageous comeback # not enough to win, if points were awarded. The fight, or the film copy from which the tape was extracted, ends suddenly, after a solid head punch by the black skirted girl # but it's not enough to down her similarly strong opponent.
- StarsBessie GordonMinnie GordonThe scene is a theatre stage with a painted panorama of French garden, with a central alley between lawns, with a couple of marble steps and balcony in front, and a line of trees in the background. Two young women step in front of this scenario, one in black, and the other in white knee-length skirts and sleeveless shirts. Both are curly blondes, keeping their hair in place by means of ribbons. They have 8-ounce boxing gloves (228 grams) well tied to their wrists. They box each other in fast, intuitive action, with not much protection. Most punches end on the opponent's leather clad fists, but several reach their bare arms, and they exchange at least 20 punches to head and chest, at close quarter and with considerable power, showing that both sisters had reasonable training in boxing, and were not afraid of taking punches themselves. The girl in black seems to dominate most of the 1m30s round, though near the end the girl in white does a courageous comeback # not enough to win, if points were awarded. The fight, or the film copy from which the tape was extracted, ends suddenly, after a solid head punch by the black skirted girl # but it's not enough to down her similarly strong opponent.
- DirectorFerdinand ZeccaStarsJean LiézerBretteauFerdinand ZeccaA burglar is arrested for a murder. He is condemned to death. Before his execution the murderer dreams of his past, of how he was a bank clerk, then turned to crime. The criminal is then taken out of his cell, and a moment later is executed.
- DirectorEdwin S. PorterStarsCarrie NationReenactment of Carrie Nation's saloon smashing in Wichita.
- DirectorGeorges MélièsStarsGeorges MélièsA chemist carries out a bizarre experiment with his own head.
- This film is part of the Mitchell and Kenyon collection - an amazing visual record of everyday life in Britain at the beginning of the twentieth century. Wave to Morecambe's seasiders in 1901, courtesy of this Mitchell and Kenyon tracking shot.
- DirectorFerdinand ZeccaA hotel porter tries in his spare time to find out the secrets of the guests in looking through the keyholes of the different rooms. He must see very funny things, judging from his facial expressions.
- DirectorG.W. BitzerStarsMarcus HannaWilliam McKinleyTheodore RooseveltThe first sequence (ca. 49 ft.), views of President William McKinley speaks to the crowd during his inauguration in Washington, DC. We see crowds on Pennsylvania Ave., NW, passing by the Willard Hotel during the inauguration festivities. A military unit on horseback rides down the court of honor, the area on Pennsylvania Ave., NW, going down 15th to 17th streets. President and McKinley and his party reviews the inaugural parade from a stand here. McKinley tips his hat to the crowd as his carriage passes the Willard Hotel. Stting beside McKinley in the carriage is Sen. Marcus A. Hanna of Ohio with members of the President's special escort, Troop A of the Ohio National Guard, and aides aides with guards. The man riding alone in the second carriage is Vice President Theodore Roosevelt.
- StarsWilliam McKinley
- These strikingly sharp scenes from Belfast present familiar thoroughfares including Bedford Street and Donegall Place. Fashionable residents peruse upmarket shops and we also glimpse passing horse-drawn transport to the Ormeau and Malone Roads. The film appeared as part of a show at the Ulster Hall in May 1901 and billboards advertising the event appear in shots of Royal Avenue.
- DirectorGeorge S. FlemingEdwin S. PorterStarsA.C. AbadieFlorence GeorgieA winner and sure to please. In front of one of the largest newspaper offices is a hot air shaft through which immense volumes of air are forced by a blower. Ladies in crossing this shaft often have their clothes slightly disarranged. A young man is escorting a young lady and talking very earnestly. They walk slowly along until they stand directly over the air shaft. The young lady's skirts are suddenly raised to an almost unreasonable height, greatly to her horror and much to the amusement of the newsboys, bootblacks, and passersby.
- DirectorGeorge S. FlemingEdwin S. PorterStarsCharmionIn this short silent film, we see Charmion an early vaudeville strongwomen, perform her famous Trapeze disrobing act. During the Victorian era, Charmion believed in promoting physical culture and dress reform for women.
- DirectorJames WilliamsonStarsSam DaltonA hungry vagabond snatches a wrapped leg of lamb and jumps into a large wooden barrel to hide. Will he get away scot-free?
- DirectorFrederick S. ArmitageTime-lapse photography is used to show the manual dismantling and demolition of New York's Star Theatre over a period of about 30 days.
- Two Boers shoot and rob a sentry.
- DirectorWalter R. BoothStarsDaniel SmithIt's Christmas Eve. The miser Scrooge and his assistant Bob Cratchit finish their work in the office and go home. When Scrooge is going to open his front door, he sees the face of Marley's ghost in the door knocker. Inside he takes on his night dress, eats his supper, and falls asleep at the table. Marly's ghost shows Scrooge a vision of himself at a Christmas in the past. Then the ghost escorts him to the present Christmas, and the homes and families of Bob Cratchit and Fred, where Scrooge sees Bob and Fred drink to him in his absence. At last the ghost shows Scrooge the Christmas that might be. Here Scrooge has to face his own grave and the death of Tiny Tim. Confronted with this Scrooge regrets his callousness and egoism.