Century Film Project

Celebrating the movies our ancestors loved

Tag: 1903

Misfortune Never Comes Alone (1903)

This simple short by Georges Méliès eschews trick photography and emphasizes slapstick humor, to the point of degenerating into a riot by the end. As with “The Colonel’s Shower Bath,” the butt of the humor is the military, especially the officer class.

Misfortune Never Comes Alone

The movie takes place on a set designed to look like an urban European street corner. A sign behind a character dressed in uniform reads “Corps de Garde,” indicating that the building is a barracks. The soldier character marches back and forth while a man has his shoes shined by another. The civilians leave and the soldier stretches out to rest. Propping himself on his rifle, he begins to snooze. A glazier walks by with glass frames balanced on his back and then a man pulls a hose across the set, apparently preparing to spray the sidewalk. Another man with a ladder props it up over the soldier and climbs up to a high gas lamp with a rag. A man dressed a bit like a modern jester runs up and looks impish as he assesses the scene of the ladder, the hose, and the sleeping soldier. He gently removes the man’s rifle and replaces it with the hose. Then he sneaks offscreen until an officer walks by. When the officer upbraids the guard for sleeping, he turns on the hose, which sprays the man working over his head. The officer winds up getting the lamp cage dropped on his head and soon the worker is tussling with the soldier, grabbing his rifle and smashing in one of the windows. When the occupants protest, the worker picks up the still-spraying hose and douses them in water. Soon police officers run up to gain control of the situation, but the result is more mayhem and water spraying everywhere. The soldier ducks into the barracks and the worker climbs up to the second floor and enters via a window. The police attempt to follow, but the worker and the prankster drag out an advertising column and topple it, blocking the entrance to the barracks. All of the characters crowd on stage and wave their arms about in distress, the social order completely upended.

Misfortune Never Comes Alone1

Méliès prefigures Mack Sennett by almost a decade here with physical humor that targets soldiers and police, and reduces a city street to complete anarchy in the name of a few chuckles. The use of the hose may have been the most challenging aspect of the production – the sets are pretty obviously painted cardboard with flimsy wood frames and the actors have to avoid pointing it at walls for fear the water will cut right through them. Even so, the upper window frame does get wet and an apparently “stone wall” sags as the worker climbs in to the upper story. A quick edit gave Méliès a chance to repair the damage before things went too far, but otherwise this movie is made in single takes, as is typical of his work. Sharp-eyed viewer will notice that several of the ads on the column are for Méliès films and the Theatre Houdin -an early form of product placement. Another area in which Méliès was an innovator, one can also see ads for Pleyel Pianos and Menier Chocolate who presumably paid for the advertising.

Director: Georges Méliès

Camera: Unknown

Starring: Georges Méliès, unknown.

Run Time: 3 Min

You can watch it for free: here (no music) or here (with music).

The Enchanted Well (1903)

For this week’s instalment in my “History of Horror,” I’m looking at another of the early films of Georges Méliès that plays with infernal concepts and imagery for the entertainment of an audience. Whimsy, special effects, and rapid action define the scene.

Enchanted Well

A proscenium-style set displays a rural town, with a well placed at the center of the stage. A group of people in peasant clothing assemble at the well, then all go off in different directions. Now a country bumpkin approaches the well, followed by an old crone, who entreats him. He responds by chasing her off, and she makes mystical motions over the well, cursing it. The bumpkin draws water from the well, and pours it into a bucket, but the bucket suddenly bursts into flames as a demon leers forth from the well. The peasant fights with the demon, and it disappears, but now the well itself shoots forth cardboard flames, and it rises into the air, becoming first a tower, and then a furnace with two snakes coming out of it. The peasant fights the snakes, and then faces devils with pitchforks, and finally a giant snake that almost drags him into the furnace before it turns back into a well and spews forth human-sized frogs, which catch him and throw him down the well. The bumpkin manages to climb back out of the well, dripping with water, but the well moves and then turns into the Devil himself. This causes the people of the town to assemble and at first they confront the Devil, but he makes a motion and they all bow down. Then he turns into a bat and flies away.

Enchanted Well1

Méliès here shows a very traditional Medieval view of witches and their compacts with the Devil (despite current Wiccan propaganda, the word “witch” in pretty much all European languages is associated with malice and evil). The witch curses the well water out of spite when the bumpkin does not give what she asks – in the Star Catalog description it claims all she was asking for was alms – and soon her familiar spirits and demons are plaguing the man and the town itself. Although Satan does fly off at the end, there is no sign he has been vanquished, having established himself as “Lord of This World” by making the peasants bow and depriving the village of its only water supply by taking the well away, perhaps destroying the entire community over this minor slight. No wonder it was necessary to fight witches with fire and torture! In the world of Méliès films of course, this is less frightening, and more fun, than it sounds, and the fast-paced action and torments of the bumpkin are played for slapstick humor, and even small children will be more amused by the large eyes of the snakes than frightened. There are a number of very rapid substitution splices, showing the Méliès has now mastered his special effects in these longer sequences, where before one or two appearances/disappearances were all we could expect. Judging by how he moves, I believe the bumpkin was played by Méliès himself, though he may have been the Devil as well.

Director: Georges Méliès

Camera: Unknown

Starring: Unknown, Georges Méliès

Run Time: 4 Min

You can watch it for free: here (no music) or here (with music).

The Marvelous Wreath (1903)

This short from Georges Méliès is a typical magic show, presented in period dress, with the emphasis on simple camera tricks and the charming personality of Méliès himself. All of his whimsy and love of fantasy comes through on the screen, as usual.

Marvelous Wreath

Méliès enters the set and bows with a flourish. He is made up in period clothing, including a wig, looking rather like one of the Three Musketeers, and the set is designed in proscenium style to represent a room in a castle, with a coat of arms visible hanging on a wall behind him, next to a large throne. He begins with a kind of G-rated strip show, in which he takes off his hat and cloak, other outer garments of the costume, and eventually his sword and boots as well, tossing each item onto a hook on the walls with supernatural precision. He places two stools on either side of the stage, and recovering his cloak, he holds it over each of them in turn. When he removes the cloak, a young girl, dressed as a page, appears sitting there. The girls remove his hanging garments from the hooks, then climb up onto the stools. He now manifests a thick rope, swinging it about like a lasso. It soon turns into a rigid hoop, which he pushes about the stage with a stick, before smashing it through a large piece of paper, which causes it to become a solid circle. The pages hold up the circle, and a demon or imp suddenly leaps out from it and dances about the stage. Méliès breaks the hoop, and has the pages hold it up high; now pulling flowers out of his hat, Méliès puts them on the broken hoop to form a wreath. He produces a fan and fans the wreath and the figure of a woman appears within. He fans it away and then reattaches the ends of the wreath, making a screen on which a close up of a clown’s face appears. The imp leaps up and jumps at the clown, causing an explosion in which both disappear. Méliès takes down the wreath and turns the pages into his outer garments, donning them and then running toward the throne just as the film ends.

Marvelous Wreath1

According to the Star Films Catalog, the movie ends when the “musketeer” as Méliès’s character is known, “disappears in a most mysterious way,” but that part seems to be missing in the surviving print I’ve seen. It’s reassuring to know that people in Méliès’s time also saw the outfit he wears and thought of musketeers (despite the fact he carries a sword, not a musket), perhaps already influenced by a stage version of the work of Alexandre Dumas. The movie is longer than the one-or-two-minute trick films of earlier years, but far shorter than epics like “A Trip to the Moon” or “Gulliver’s Travels.” None of the tricks we see are anything new, but he throws a lot of them together to make a fun performance. The use of the close-up to achieve the effect of the clown face is just one of many examples of him using this technique before it became widely accepted. Often, as in this case, the close-up was reserved for a disembodied head that was “gigantic” next to the other characters on the screen – the most famous example is of course the moon’s face in “A Trip to the Moon.”

Director: Georges Méliès

Camera: Unknown

Starring: Georges Méliès, unknown

Run Time: 4 Min

You can watch it for free: here (no music).

The Kingdom of the Fairies (1903)

Released just one year after “A Trip to the Moon,” this extended adventure story from Georges Méliès was at least equally as ambitious and well-executed, although it’s not so well remembered today. Essentially a fairy tale-quest story, the use of a witch and her demons as antagonists fits it more or less into my October history of horror.

The movie begins on a proscenium-style set dressed as a medieval court. Lords and ladies arrange themselves around the throne. Méliès himself appears as “Prince Bel-Azor,” who is betrothed to Princess Azurine (Marguerite Thévenard). Various fairies give the princess wedding gifts, led by the fairy godmother, Aurora (Bluette Bernon). Suddenly a witch runs in, offended at not having been invited. When she is admonished by the prince, she turns into flame and disappears. The next sequence shows the princess in her bedchamber, assisted in undressing for bed by several ladies-in-waiting. Once they leave, the witch, assisted by several green demons, seizes the princess from her bed and puts her into a “chariot of fire.” She is unable to resist, although the prince rushes in at the last moment to be confronted by a fire-wielding demon. He and the court rush out to a high tower and watch the chariot of fire and its retinue rushing across the sky. The prince vows to pursue. Read the rest of this entry »

The Infernal Cauldron (1903)

Alternate Titles: The Infernal Caldron and the Phantasmal Vapors, Le Chaudron infernal

This short trick film from Georges Méliès continues my “history of horror” for October, 2018. Now 115 years old, it shows that some of the effects of cinema have aged well.

Méliès, dressed as a demon (the Star Films catalog informs us he is “Belphegor, executioner of Hell”), dances in front of a large boiling cauldron, on a set dressed like a Renaissance castle, with leering devil masks on the walls. Three women (two apparently dressed as men, wearing swords) are led into the chamber, and one at a time thrown into the pot. Another demon comes forth to stir the pot and Belphegor makes some magical gestures, producing more smoke. Suddenly, the smoke resolves itself into three ghostly figures, which fly about the room over Belphegor’s head, evidently frightening him. The ghosts turn into fireballs which whip around the room. Méliès leaps into the cauldron after they have disappeared, and the cauldron and demon disappear in a puff of smoke.

Although it looked to me as if the victims were having their revenge (in a plot reminiscent of “The Golden Beetle” by Segundo de Chomón), the Star Films catalog suggests a different narrative, more in line with Catholic theology. The condemned souls have been separated from their bodies by the cauldron, and at the end Belphegor turns them into Will-O-The-Wisps, “who must forever remain with the vast concourse of Satan’s victims.” The disappearance of Belphegor at the end is apparently voluntary, since his work is now complete. The catalog also makes quite a big deal about the transparent flying ghosts, calling it, “A very fascinating and absolutely new trick.” There have been some ghosts in Méliès before this, including the semi-transparent one in “A Fantastical Meal,” but these spirits do seem somewhat more nebulous and sophisticated to me. I would imagine that producing an effect for the audience was ultimately more Méliès’s interest than making a coherent or spiritually consistent storyline.

Director: Georges Méliès

Camera: Unknown

Starring: Georges Méliès

Run Time: 1 Min, 45 secs

You can watch it for free: here.

The Infernal Cake-Walk (1903)

Alternate Titles: Le Cake-walk infernal

With October now well under way, it’s time to return to my traditional “history of horror” posts. For this outing, I’ve chosen a short dance movie from Georges Méliès which meshes Satanic themes and colonialism.

The movie begins in a cavern with flames shooting up from various places in the floor. A group of young women dressed as demons (perhaps succubi?) dance across the floor, and then some male demons perform tumbling tricks. Soon, a fellow dressed like a biblical prophet appears and chases them all away, but he removes his outer clothes and is revealed to be Satan himself (played by Méliès). First he dances with a fireball in his hand, which grows in proportion until he throws it down. He summons two cake-walk dancers, a black man and woman, who perform their dance and are joined by a group of young women. Now a large cake is brought out by evidently African servants, and a new demon leaps forth from it. This fellow has a humped back and knobby knees, but despite his deformities proves to be an excellent cake-walk dancer. He performs for some time, and during the dance first his legs, then his arms detach themselves and dance independently. He disappears and all of the demons, damned souls, and dancers reappear and dance together on stage until Satan reappears and they vanish in a puff of smoke. Satan disappears through a trap door in the stage.

Because it’s mostly dancing, I was able to summarize the action pretty succinctly, however this is a fairly long movie for Méliès: over five minutes long. Not so long as “A Trip to the Moon,” but well above the earlier 1-2 minute films he was making. There are a number of intriguing aspects. The “female demons” I mentioned above have horns, but their striped costumes made me think of bees. The “male demons” are actually wearing the masks of the Selenites from “A Trip to the Moon” (having gone to the bother of making so many masks, I guess Méliès wanted to get more use out of them). The black dancers appear to be wearing makeup, but from their hair and features I think they may have been actually of African descent, not white Frenchmen in blackface. The cake-bearers are wearing black full-bodysuits, so I think they actually are white people. The Star Film Catalog tells us that the biblical-prophet-looking-guy is really Plato who has returned from a journey to the Earth to show off the cake walk dance. I suppose that Plato has to be in Hell because he was a pagan; Dante places him there in the “Inferno.” Still, it’s interesting that he serves the function of a colonial explorer bringing back exotic foreign dances to Hell. The dancers and cake bearers are to all intents and purposes captured slaves. Since recent analyses of “A Trip to the Moon” have argued that Méliès was making a point about the evils of colonialism, it’s interesting to see this movie as suggesting its origin with the Devil himself. Still, I suspect that for audiences then and today, this is mostly a fun romp of effects and dances.

Director: Georges Méliès

Camera: Unknown

Starring: Georges Méliès, others

Run Time: 5 Min, 20 secs

You can watch it for free: here.

Emigrants Landing at Ellis Island (1903)

This actuality short from Edison depicts part of the wave of immigration that hit US shores in the early Twentieth Century, forever changing the face of the country. It’s a bit longer – and involves more shots – than earlier Lumiére documents of people disembarking boats and trains, but doesn’t really surpass them in narrative.

The first shot shows a ferry carrying people to Ellis Island from the docks where their ships put in at New York harbor. The ferry is clearly full of many people, but it looks comfortable and clean, possibly better than the conditions many had sailed over with. As it draws past, we read the name of the company, “Wm Myers.” The second shot is taken directly in front of the gangplank, so that we see the first departures off the boat coming right at the camera. They are carrying their bags, and seem intent on getting where they are going. This shot is rapidly replaced by a shot at a 30-45 degree angle, allowing the passengers to pass in front of the camera over more time. This lets us get a look at their clothes and condition. The first to pass appear to be wearing middle-class Western clothes, but they are soon followed by a number of girls with scarves over their hair, looking more like Eastern European Jews (possibly Hasidic). We see a lot of women, in varying clothing, some carrying babies or accompanied by children. Although most are carrying bags or luggage of some kind, none appears to have a lot of possessions, and we rarely see a family with both an identifiable mother and father together, although both men and women pass by individually.

Ellis Island was a port of entry for a tremendous number of immigrants from various parts of Europe from 1892 until the late 1920s, when restrictions on immigration reduced the influx, and it remained in operation until 1954. It appears to me that the cameraman chose groups of “exotic”-looking immigrants for his subject, although each ferry would have brought over people from a variety of ships and locations, so this probably wasn’t difficult. There doesn’t seem to have been a political motivation for this movie – the passengers are not depicted as particularly threatening or as especially noble, they’re just people. The Edison cameraman was probably aware that Ellis Island was a “famous” location in New York and was taking advantage of its familiarity to produce a film with some potential for sales. In that sense, it becomes a valuable document of the country as “a nation of immigrants,” and a simple connection with history. Many of the people reading this blog probably had ancestors who passed through Ellis Island, and this allows us to see a part of what they experienced. It’s interesting that, compared to other movies taken in public places at the time, there seems to be less interest in the camera, although a few of the passengers do stare very hard at this contraption of their New World as they walk past.

Director: Alfred C. Abadie

Camera: Alfred C. Abadie

Starring: Unknown aspiring immigrants

Run Time: 2 Min, 5 secs

You can watch it for free: here.

The Monster (1903)

Alternate Title: Le Monstre (Star Films #481-482)

Georges Méliès appears again in our history of horror with this fanciful short about the living dead in Egypt. This may not be the scariest movie you’ve ever seen, but it is a bit darker than a lot of other Méliès trick films.

A standard proscenium-style set is decorated like the Egyptian desert, with a large Sphinx (still with its nose!) prominent on the backdrop. Two men in middle eastern garb, including headdresses, walk onto the set, apparently engaged in conversation or negotiation. One sits on a stone block while the other gestures to him. The standing one walks to one side of the set and retrieves a large casket. He opens it and pulls out a skeleton, which makes the seated man flinch a little. The first man places the skeleton on the ground on the opposite side of the set, near another pile of blocks, then removes the casket. The seated man watches while the other performs a series of gestures. While his back is turned, the skeleton sits upright and rises, then flops over to one side. The man interrupts his gestures to place the skeleton upright on the stone blocks. He then speaks to the seated man, who looks on with interest as the skeleton continues to move on its own. When it stands up, the first man runs over to push it down again, then he gets some fabric and clothes the skeleton. He gestures again and the skeleton rises to its feet, now apparently a more fully-fleshed creature with a skull face. It begins to dance, which seems to alarm the seated man. The standing man gestures in a way that causes to monster to seem to melt into the ground, then rise up again, stretching out to become much taller than the men. It shrinks back down to normal height, but then extends its neck. Causing further consternation. Then it begins its dance again, and the standing man gestures as if he regards the operation as a success. The seated man now stands and rejects the monster, but the other man puts a veil over its head and when he removes it, the skeleton has been replaced by a young woman. When the second man gets on his knees before her, she backs away from him. The first man wraps her in fabric again and tosses her at the second man, but when he catches her she has reduced back to the skeleton and he recoils. The first man flees and the other pursues him off screen.

I’ve given a very impressionistic synopsis, above, in part because Fritzi Kramer at Movies Silently recently reviewed this movie and went into detail regarding the context. Her view is more “correct” in terms of what Méliès wanted, and you should certainly read what she has to say. However, it should be noted that in the century since this movie came out, it has been seen many times without the original narration, and given the practice of “duping” and the arbitrary behavior of exhibitors, it’s quite possible that it was shown without that context even at the time. If you simply see it as a series of moving pictures, what you get is the impression of a magician “creating” a young woman from bones for a patron, who ultimately rejects the necromantic operation – but only after the young woman rejects him. As a horror film, it draws our attention to the line between the living and the dead, and the dangers of an erotic fascination between them. It seems that in order to get to the young woman the patron wants to see, he has to endure the parody of life that the skeleton performs for most of the movie. And then, like the “Bride of Frankenstein” in later years, the created woman has no interest in loving the man that instigated her creation. Certainly, tropes from this film continued to haunt the horror genre for many years. It’s interesting to note that the face and general look of the “monster” in this movie is the same as the ghost we see in “A Fantastical Meal” from three years earlier, even its spooky dance is similar. Méliès wasn’t above re-using a good prop, and I think here he felt that the ghost puppet had been particularly effective in eliciting chills from his audience. We can see this “monster” as part of his iconography, along with the famous image of the rocket-in-the-moon’s eye.

Director: Georges Méliès

Camera: Unknown

Starring: Unknown, probably Georges Méliès as one character.

Run Time: 2 Min

You can watch it for free: here.

Uncle Tom’s Cabin (1903)

This early version of the famous novel by Harriet Beecher Stowe is a little hard to accept in the modern world, because of the associations we have with the title and the way it portrays the African American experience. Nonetheless, at the time of its release it was an important attempt to recreate an important work of literature on the screen, and compared to other movies of the time, it demonstrates high production values and a seriousness of tone.

The movie begins with the Intertitle “Eliza pleads with Tom to run away.” We then see some actors in blackface on a proscenium-style set that depicts a cabin in the snow. They talk with each other and pantomime their conversation. “Eliza” is accompanied by a small child, and “Tom” seems to have a wife or other woman living in his cabin. The next scene is “Phinias outwits the slave traders.” Here, on a set built to resemble a tavern or store, Eliza speaks to a white character, who shows her out the back door, then distracts a well-dressed white man with liquor. Other men come in and “Phinias” keeps them in a huddle while Eliza re-enters the stage, then sneaks her child and herself out through the window. When the men turn around, Phinias holds them at bay with pistols. “The Escape of Eliza” involves an elaborate outdoor set that re-creates a river with ice floes floating along it. Eliza and the child run upriver, pursued by dogs and a group of men, then float past the other direction on one of the ice floes. Some men who try to catch them fall into the river and have to be rescued. Next is the “Reunion of Eliza and George Harris,” which takes place in a large room with a spinning wheel. George tries to hide Eliza, and when the pursuers show up he shoots one of them in the  foot from a high vantage point, then shoots another one dead when they don’t leave.

The narrative now shifts away from Eliza with “Race between the Rob’t E. Lee and Natchez.” This river-boat race is shown with very obvious miniatures, and the losing boat explodes and catches fire at the end. I was expecting “Rescue of Eva” to be rescuing someone from the burning boat, but rather it shows a group of slaves dancing in front of the disembarkation of the winner. Eva, a small white child, trips and falls off the gangplank into the river, and Tom leaps in to save her. The next scene is “The Welcome home to St. Clair Eva Aunt Ophelia and Uncle Tom” [sic]. This shows what seems to be the entryway to a plantation home and more slaves dancing. Eva rides in on a pony. Tom is now dressed in a very fine butler’s uniform. “Tom and Eva in the Garden” is an extension of this happy home life sequence, with a cakewalk-style dance. This is then broken by “Death of Eva” in which a double-exposed image of an angel floats down and takes Eva’s soul from her body on the sickbed. Tom pantomimes his profound sorrow at the child’s death. In “St. Clair Defends Uncle Tom,” we see Tom and his owner enter a fancy saloon. Tom stands deferentially to one side while St. Clair drinks and reads the paper, but some white men start trouble with him and St. Clair gets up and fights them. He is killed in the fight.

The next scene, “Auction Sale of St. Clair’s Slaves” is often criticized because it shows the slaves dancing (again) before the auction begins. Even more stereotypically, two of them are playing craps as well (as if they would have anything to gamble). I think what was more significant to audiences at the time is that Tom is no longer in his servant’s finery, he now is clothed as a field hand. In the next scene, “Tom Refuses to Flog Ema’line” and is flogged himself. This takes place before a backdrop of the plantation field. Then, back at the plantation home of Tom’s new owner, “Marks Avenges Death’s of St. Clair and Uncle Tom” [sic] by coming on stage and unceremoniously shooting the white man. The movie concludes with “Tableau: Death of Tom,” which includes superimposed shots from a magic lantern of the eventual emancipation of the slaves over the broken figure of Tom, chained to a wall and dying.

The movie assumes either a live narrator or an intimate familiarity with the story, despite the forward-facing Intertitles that precede each screen, which was itself an innovation in 1903. I was able to follow some of it. It helps to know that Stowe was an abolitionist, and created the character of Tom as a good Christian whose basic decency and humanity was contrasted with the white slave drivers, whose Christianity was often hypocritical. We don’t think of “Uncle Tom” today as a term relating to showing African Americans as human beings, but that was the original intent of the novel. This version undercuts that somewhat by using blackface and portraying stereotypes, but the basic message is still there: Tom rescues a little girl and refuses to whip another slave and dies for it. It doesn’t really seem like the Eliza sub-plot adds much to this in this version, but presumably audiences familiar with the book would have expected to see it, and I was reasonably impressed with the special effects on the ice floe sequence.

Michelle Wallace, who gave the introduction to “Scrap in Black and White,” also introduces this movie on the “Invention of the Movies” DVD, pointing out the popularity of Uncle Tom’s Cabin during the period (the same year, there was a version released by Lubin, a studio dedicated mainly to filmed versions of the classics), and to some degree defending it against its reputation as an agent of racism. I have some problems with the way she expresses this, saying that it is perhaps not “100% racist-fascist” and that it does not support the idea of “extermination” of black people in its interest in showing them at play or dancing. The problem is that these concepts do not apply in 1903. Fascism was still almost twenty years away in Italy and had no roots in American racism, which was never based on a need to exterminate black people. American racism did devalue black lives, and supported killing individual blacks, but the idea was to “keep them in their place,” as second class citizens, not to wipe them out. Of course, Stowe’s novel challenged this by arguing that a black man might be a better Christian than his white owners, but this version of the story preserves only part of that message, which is undercut by the stereotypical portrayals of African Americans on the screen.

Director:Edwin S. Porter

Camera: Edwin S. Porter

Starring: Unknown

Run Time: 19 Min

You can watch it for free: here (no music) or here with music).

 

Rector’s to Claremont (1903)

This short movie from Edison seems to be a kind of reversal of “How a French Nobleman…” using various locations in Manhattan for a comedic chase sequence. I’m not familiar with either of the names in the title, which may mean I’m not getting the context of the movie.

The opening shot shows a busy downtown sidewalk, with an awning as of a theater or nightclub in the foreground. A large group of well-dressed women come out from the doorway under the awning and pile onto a horse-drawn carriage. Some men climb onto the sides of the carriage as well, then it takes off down the street. The carriage drives down various streets, mostly through parks and wooded areas, and the Midtown entrance to Central Park is recognizable at one point. Along the way, they pick up a pursuer. A man with a top hat and a jacket is running after the carriage. The women wave their parasols at him, but it’s hard to tell if they are encouraging or discouraging him. At one point they drive past Grant’s Tomb, and he stumbles and falls, but the camera is slightly pointed away so we miss the pratfall he does. The camera pans slightly afterward to see him get up and begin his pursuit again. Finally, the carriage arrives at a large well-appointed building like an academy or school of some kind, and the women disembark. There is no sign of the man at this point.

Although I don’t fully understand this movie, it is a good depiction of New York from the period. It’s interesting how it seems to become more suburban and woodsy as the carriage proceeds further North. Today, apart from the parks, most of this drive would be through heavily populated urban areas. Probably the movie would make more sense to an audience that knew what “Rector’s” and “Claremont” were, and I assume that the exhibitor would provide a narrative to explain the mysterious pursuer. As it is, it is of more interest in terms of architecture and fashion than filmmaking. Near the “Rector’s” opening, we see a building with a full-size ad painted on the side: a woman in Victorian dress looming several stories tall over the street. That’s an exciting image right there!

Director:Edwin S. Porter

Camera: Edwin S. Porter

Starring: Unknown

Run Time: 3 Min, 45 secs

You can watch it for free: here (no music).