An Englishman and his valet have adventures in the American West.
A man and his wife try to enjoy a picnic, but strange and surreal happenings prevent them from doing so.
"This beautiful example of far-fetched blasphemy accompanies a happy, ugly nun into the woods for her constitutional, replete with charming bird noises. Praying to and fondling a priapic mushroom, she is unaware of the evil rapist shadowing her. When the rape occurs, it is in long shot, hidden from view, under a huge tree. Articles of clothes and her cross sail through the air; the tree - entirely dominating the screen - sways rhythmically and repeatedly. A few minutes later it stops; then another tree, a few feet away, begins to sway in identical fashion. The rapist finally emerges, exhausted." (Amos Vogel, Film as a Subversive Art)
A six-year-old boy in pre-hippie 1960s United States endures ridicule from his schoolmates and worry from his father over his fixation with a TV star named Dottie.
Koko the Clown discovers a machine that can make cartoons.
Country rube thinks what he sees on the movie screen is real. He jumps out of his seat to try to stop a kissing scene.
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.
When Bugs calls a cab he doesn't know it's the getaway car for a couple of bankrobbers (he does know the capital of Nevada).
Set in the candy-colored world of 1950s suburbia, a reluctant young housewife suspects that the friendly neighborhood dentist is hiding a horrible secret, but is it just the anesthesia at work or is there something more sinister hiding below the surface? Open up and say AHHHHHHHH!
A vaudeville routine: two denizens of the Bowery dance while under the influence. She's wearing a light dress with a full skirt. He wears a white sport coat and tie. Both have hats. On a small stage, she approaches him gingerly, leaning forward. He grabs her close, she leans into him, and he waltzes her around.
A businessman lives out his daily routine until he meets unexpected stress in the form of his apartment building's elevator.
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.
Sailors in repose on an island paradise seemingly have no worries of war or danger — until a playful gesture is interpreted as an act of wilful aggression. Soon, the innocent act of slight slapping becomes a relentless and unforgiving orgy of open-palmed face-smacking.
Wintertime in Lyon. About a dozen people, men and women, are having a snowball fight in the middle of a tree-lined street. The cyclist coming along the road becomes the target of opportunity. He falls off his bicycle. He's not hurt, but he rides back the way he came, as the fight continues.
Félicien Trewey uses a basic prop to create comical hats and their accompanying caricatures.
Produced and directed by George Albert Smith, the film shows a couple sharing a brief kiss as their train passes through a tunnel. The Kiss in the Tunnel is said to mark the beginnings of narrative editing. It is in fact, two films in one, hence the 2 min length. Firstly, the G.A. Smith film here for the central cheeky scene in the carriage. The train view footage however is Cecil Hepworth's work, entitled 'View From An Engine Front - Shilla Mill Tunnel', edited into two halves in order to provide a visual narrative of the train entering the tunnel before the kiss and then leaving afterwards. More information about the filming of the phantom train ride can be found searching for the Hepworth film separately.
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.
Mickey heads over to see Minnie, but Pluto won't leave him alone. He gets there and watches through the window, standing on Pluto, while Minnie plays piano. Pluto runs off to chase a cat and leaves Mickey stuck in the window. Minnie has him in, and he dances to her playing. Pluto chases the cat into the house and causes havoc. The chase leads into the piano, where Pluto picks up the player-piano roll as an extended tail, and the destruction continues.
A greedy man tries to get rid of his mother by putting her in an old folks home until he discovers she has a fortune in stock certificates.
As the mysterious “bloated belly” disease spreads through their kingdom, Princess Molly teams up with Léon the bear to outwit a conniving storyteller.
A classic about an anteater who makes life rough for a colony of ants. In the ant community, the queen spreads warnings of their greatest enemy, the Anteater. "He's a menace, he's a brute, he will scoop you with his snoot." Their motto is "make him yell uncle," which they do when the anteater invades them.