Movies of a decade: 1870s | 1880s | 1890s | 1900s | 1910s | 1920s | 1930s | 1940s | 1950s | 1960s | 1970s | 1980s | 1990s | 2000s | 2010s | 2020s
A chemist carries out a bizarre experiment with his own head.
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.
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.
A convicted criminal dreams about his past the night before his execution.
At the beginning of the scene Romeo in his gondola sings to Juliet a sentimental song, then goes away. Hardly has he departed when the colonnade falls to pieces, disclosing the devil. Juliet, frightened, runs to the window and calls Romeo. The latter attempts to enter and protect his fiancée, but at a gesture from the devil the window is instantly covered with a grating and Romeo makes frantic efforts to break it. The devil begins to dance a wild dance before Juliet, who is beside herself from terror. The devil gradually becomes the size of a giant (a novel effect). Juliet implores the statue of Madonna, which becomes animated, descends from its pedestal, and stretching out its arms orders the devil to disappear. (Méliès Catalog)
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.
A magician does tricks with the aid of his assistant, the Human Pump.
A man attempts to engender a transformation of a giant worm into a butterfly.
A great feature of the Pan-American Exposition, as unanimously conceded by all visitors, was the electric illumination of the Exposition grounds at night. After a great deal of experimenting and patience, we succeeded in securing an excellent picture of the buildings at the Pan-American as they appeared when lighted up at night.
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A scene from Charles Dicken's A Christmas Carol.
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.
A clown performs various feats of magic based on his ability to detach and reattach different parts of his body.
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 group of people cross a mountain near Chamonix and are filmed doing so by the Lumière brothers.
President McKinley taking the Oath.
A magician explores two halves of his self: The Dwarf and the Giant.
A most interesting picture at the Pan-American Exposition. The picture was taken from the north side of the Electric Tower. It presents the most perfect and diversified views of the Transportation Building, Mexican Plaza, the Stadium and the north side of the Electric Tower. (Edison Catalog, 1902)
A sorceress conjures up a bevy of beauties for a bachelor to peruse.
An old proprietor is startled and haunted by the strange happenings inside his curiosity shop.
A very enthusiastic magician performs several tricks.
A group of people exiting an enormous carriage.
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.
A trio of prankish boarders wreak havoc on their landlady and an intervening policeman.
Cavalry and foot-soldiers escort President McKinley.
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.
Four black minstrels turn into white clowns and back again when they hit or kick each other.