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.
- Edwardian workers at one of Rotherham's major employers react to the camera.