Der Mann mit dem Gummikopf(1901)
A chemist carries out a bizarre experiment with his own head.
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A chemist carries out a bizarre experiment with his own head.
Der Film beginnt mit einem Einbruch, der mit einem Raubmord endet. Die Polizei kann schließlich den Täter festnehmen. Dieser wartet im Gefängnis auf seine Hinrichtung und blickt noch einmal auf die wichtigsten Stationen seines Lebens zurück. Dann kommt schließlich der Moment, in dem er mittels Guillotine hingerichtet wird.
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 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 magician does tricks with the aid of his assistant, the Human Pump.
Time-lapse photography showing the one month-long demolition of the Star Theatre in New York.
A 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.
Firefighters 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.
President McKinley taking the Oath.
A 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?
A scene from Charles Dicken's A Christmas Carol.
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A man attempts to engender a transformation of a giant worm into a butterfly.
A lad from a butcher shop is carrying a tray laden with a roast or a leg of lamb. A hobo grabs it and runs. The boy gives chase, joined by dogs, as neighbors watch the spectacle. The hobo jumps into a large rain barrel, followed by the dogs.
Pathé film number 380, also known as "What Happened to the Inquisitive Janitor" (US) and "Peeping Tom" (UK). It should not be confused with its remake from 1905 also titled What is Seen Through a Keyhole, a film now considered lost. As a janitor is cleaning a hotel, he decides to peek through the keyholes to observe some of the guests in their rooms. In room 8, a woman is busy making herself look more attractive, and the janitor enjoys watching her. There are also some interesting things going on in the other rooms on the floor.
This early docudrama shows Auburn Prison and recreates the electrocution of Leon Czolgosz, the assassin of President McKinley of the United States.
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.
An old proprietor is startled and haunted by the strange happenings inside his curiosity shop.
A very enthusiastic magician performs several tricks.
Four black minstrels turn into white clowns and back again when they hit or kick each other.
A clown performs various feats of magic based on his ability to detach and reattach different parts of his body.
The Waif and the Wizard features the same young man who appeared in Undressing Extraordinary (and who might be early filmmaker Walter Booth). It's another early example of a two-shot film along the lines of Paul's earlier film Come Along Do!. The young man plays a magician who, after completing his act, agrees to go home with the young boy from the audience who helped him perform his tricks. At the boy's home he finds a sick sister and a worried mother being threatened with eviction by her landlord.
A magician explores two halves of his self: The Dwarf and the Giant.
A gilded saloon, with a fancy bar, forms the background. A nobby bartender with white coat and apron is dispensing drinks to customers. Behind him are polished plate glass mirrors. A comical Irishman enters, sets a huge pail on the bar to be filled, and while he is drinking a glass of foam beer, Mrs. Nation and her followers enter with their hatchets. One of the women jams the Irishman's stiff hat down over his eyes and another one douses him with his own pail of beer. They then wreck the saloon and smash the mirrors, bottles, cash register and bar fixtures. The bartender plays a stream of seltzer water on Mrs. Nation, and as she backs away from behind the counter, a policeman enters and hustles everybody out. Full of comedy from start to finish. (Edison Catalog)
A scene from Charles Dickens Bleak House.
The champion lady boxers of the world. Shows two female pugilists who are really clever. They engage in a hot one-round sparring bout. A park, with marble entrance and walk, and beautiful trees and shrubbery, make a very pleasing background. The exhibition is very lively from start to finish; the blows fall thick and fast, and some very clever pugilistic generalship is shown. Sold complete or in separate lengths.
Shows a bedroom in a hotel. On the wall of the room is a conspicuous sign "Don't blow out the gas." A hayseed enters the room, accompanied by a bellboy. The boy deposits the Rube's bag and umbrella, turns a somersault, and vanishes through the door. The Rube then removes his hat and coat and places them upon the table. They immediately vanish. He then blows out the gas. The scene then instantly changes to a funeral procession, headed by Reuben's hearse, and followed by the carriages of his country friends. Strictly up-to-date picture. (Edison Catalog, 1901)
This film is difficult to classify. It opens on a scene showing a mourner with bowed head sitting in front of what appears to be a tombstone. Shortly afterwards, the face of Abraham Lincoln and then of two other presidents, Garfield and McKinley, can be seen on the monument and then they disappear. There is a figure huddled at the foot of a statue of Justice, as if asking forgiveness.
An up to date idea and a great picture. The professor sits in his laboratory with his newly invented baby incubator. A mother who is anxious for the growth of her child enters, places her baby in care of the professor, who promptly places it in the incubator. An alcohol lamp is lighted under the apparatus, but the professor evidently gets his machine too hot, for in a few seconds the top is opened and the baby taken out. To the great anger of its mother it has grown about two feet in height and has long hair and a full beard. (Edison Catalog)