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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.
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.
A very enthusiastic magician performs several tricks.
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.
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.
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)
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 jovial looking man is seated nearest the window of a restaurant. He has just finished his meal and the waiter brings a glass of beer, and when he places the glass upon the table, lo, a little sailor boy about six inches high appears from the foam, and climbing down the side of the glass, proceeds to dance a sailor's hornpipe on the table.
An artist draws the head of a pretty girl, takes the drawing off the paper and places it on a small table, turning the image into the head of a real woman. He then continuous drawing the lady, one body part after the other.
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.
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Here we present a picture that simply convulses an audience with laughter. The scene opens in the bedroom of a hotel. A traveler appears, evidently a "little worse for wear." After stretching and yawning, he proceeds to disrobe. He throws off his coat and vest, but to his surprise and anguish, he suddenly finds himself clothed in a continental uniform. He throws this off in anger, but immediately a policeman's costume flies on him. This is in turn thrown aside in great rage and he finds himself clothed in a soldier's uniform. At last, thinking himself successful, he makes for the bed and finds a skeleton complacently resting on his pillow. The bed suddenly disappears, leaving him seated on the floor, and great quantities of bed clothes rain down from the ceiling. The picture ends leaving the audience simply convulsed in laughter. (Edison Catalog)
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