- Title: V-8600
- Summary: BABY MEETS HIS PARENTS: POINTS OUT THE INFLUENCES OF HUMAN RELATIONSHIPS AND ENVIRONMENTAL FACTORS, AS WELL AS HEREDITY, IN THE BABY'S DEVELOPMENT. SHOWS THROUGH EXAMPLES HOW THE BABY'S PERSONALITY IS INFLUENCED DIRECTLY BY THE EXTENT TO WHICH HIS OR HER BASIC NEEDS ARE MET
- Description:00:00:09 - CHILDREN AND MOTHERS AT THE PARK MOTHER KNITS SITTING ON PARK BENCH CHILDREN PLAYING WITH SWINGS. BRAT GIRL PUSHES BOY OUT OF THE WAY 00:00:15 - 1940s TEENAGERS LEAVING SCHOOL. CU FACES 00:00:35 - PARENTS PUSHING BABY CARRIAGE IN PARK. TEENAGER BENDS OVER CARRIAGE TO LOOK AT BABY INFANT. 00:01:00 - INFANT NEWBORN. MOTHER BREAST FEEDING BABY. 00:01:22 - MOTHER CHANGING DIAPER. 00:01:32 - MOTHER SMILING AT BABY. TALKING TO INFANT 00:01:46 - MOTHER PULLS BABY TO AN UP-RIGHT POSITION IN CRIB 00:01:54 - BABY SLEEPING. WAKING UP. SUCKING THUMB IN CRIB. 00:02:30 - MOTHER REMOVES BABY FROM CRIB. PICKS BABY UP. BREAST FEEDS BABY BURPS BABY. SMILING BABY. PUTS BABY BACK IN CRIB. 00:04:18 - MOTHER CHANGING BABY DIAPER. SITS BABY UP IN CRIB 00:06:20 - MOTHER BATHING BABY. 00:07:00 - MOTHER DRIES BABY DRESSING BABY. 00:07:22 - FATHER HOLDS BABY. PUTS BABY ON BED GIVES BABY A TOY. BABY CHEWING ON TOY. OLDER SISTER PLAYS WITH BABY. 00:08:15 - CHILD OLDER NOW MORE HAIR SITTING UP IN HIGHCHAIR. BEING FED IN HIGHCHAIR. BABY FEEDING ITSELF FOOD ON FACE. MOTHER SPOON FEEDS BABY 00:08:31 - BABY NOW A TODDLER STANDS BY PLAYPEN. 00:08:35 - TAPE ENDS 1704 V-8601 MATERNITY HOSPITAL ROUTINE 1967 CHILDREN Color Good Y 00:14:15 IN ORDER TO ALLAY ANY FEARS SHE MAY HAVE A YOUNG MOTHER-TO-BE LEARNS PRECISELY WHAT HAPPENS IN THE HOSPITAL MATERNITY WARD LABOR ROOM AND IN PRE-DELIVERY TESTS. DETAILS THE WORK OF DOCTORS AND NURSES DURING ACTUAL DELIVERY METHODS OF BABY IDENTIFICATION AND THE CARE GIVEN IN THE RECOVERY ROOM. CHILDBIRTH. REPRODUCTION. PREGNANCY. MATERNITY WARD HOSPITAL 1967. NEWBORNS. INCUBATOR. COUPLE GETS READY FOR TRIP TO HOSPITAL TO GIVE BIRTH. GIVES BIRTH. FAMILY GOES HOME 00:08:56 - NURSE PUSHING BABY IN INCUBATOR. PREEMIE. PREMATURE BABY. 00:09:50 - PARENTS-TO-BE WOMAN PACKING SUITCASE. FOR HOSPITAL. PACKS BABY THINGS. ACCOUTERMENTS. HUSBAND PUTS COAT ON WIFE. HUSBAND HAS A HARD TIME CLOSING OVERSTUFFED SUITCASE 00:10:49 - HUSBAND AND PREGNANT WIFE ARRIVE AT HOSPITAL NURSE WRITING. HOSPITAL ADMITTANCE DESK. ADMITTING WOMAN INTO HOSPITAL WIFE KISSES HUSBAND. 00:12:00 - WOMAN WHEELED IN WHEELCHAIR DOWN HOSPITAL CORRIDOR TO HER ROOM. 00:12:33 - WOMAN LIES DOWN IN HOSPITAL BED. BLOOD PRESSURE TAKEN. CHECKING PULSE. NURSE LOOKING AT WATCH. LISTENING TO BABY'S HEARTBEAT. CU INSTRUMENT 00:13:46 - 1960s HOSPITAL ROOM 00:13:49 - HUSBANDS WAITING IN MATERNITY WAITING ROOM FATHER-TO-BE PACING BACK AND FORTH 00:14:07 - OPERATING ROOM BEING PREPARED. NURSE GOES INTO DOOR MARKED LABOUR ROOMS 00:14:21 - MOTHER-TO-BE WHEELED OUT OF LABOR ROOM INTO DELIVERY ROOM ON GURNEY. STRETCHER BED. RESTRAINTS ON OPERATING TABLE. NURSES IN SURGICAL MASKS. WOMAN'S LEGS PUT INTO STIRRUPS. 00:16:43 - WOMAN GIVES BIRTH. DOCTOR ASSISTS. BABY IS BORN. (NOT REALLY SEEN DOCTOR HOLDING BABY WITH UMBILICAL CORD ALREADY CUT) 00:17:43 - CU EXHAUSTED FACE OR WOMAN WHO JUST GAVE BIRTH 00:17:53 - SCISSORS CUTTING PLASTIC BAND. WRISTBANDS ATTACHED TO WRIST. 00:18:18 - EXPECTANT FATHERS FATHERS-TO-BE IN WAITING ROOM MAN LOOKS UP FROM NEWSPAPER STANDS UP TO SEE HIS CHILD. NEWBORN BABY. MILESTONE. 00:19:03 - MOTHER & BABY WHEELED BACK TO ROOMS. NURSE CRANKS UP BED. NURSES LOOK AT CHART. NURSE INSTRUCTS MOTHER 00:21:07 - DOCTOR VISITS. HOSPITAL FOOD SERVED. 00:21:52 - HAPPY WOMAN ON PHONE. NURSE DRESSES BABY. HUSBAND VISITS 00:22:28 - CU NEWBORN BABY. NURSE PUTS ON BABY HAT. WRAPS BABY IN BLANKET FAMILY GOES HOME. MOTHER WAVES GOODBYE TO HOSPITAL ROOM-MATE. 00:23:10 - TAPE ENDS 1708 V-8602 BABY'S FIRST FOUR MONTHS 1967 CHILDREN Color OK Y 00:17:46 A DETAILED ACCOUNT OF THE FIRST FEW MONTHS AT HOME SHOWS WHAT TO EXPECT IN THE WAY OF BABY'S GROWTH AND DEVELOPMENT HOT TO BE RELAXED IN THE FACE OF SUCH NORMAL PROBLEMS AS POSTNATAL BLUES TIRING VISITS BY RELATIVES & FRIENDS THE FIRST EXPERIENCE WITH A BABYSITTER AND THE FIRST SHORT TRIP FROM HOME WITH BABY. EMOTIONAL NEEDS AND THE IMPORTANCE OF REST AND EXERCISE FOR BOTH MOTHER AND CHILD ARE EMPHASIZED. home front (n. the civilian population (and their activities) of a country at war) sixties (n. the decade from 1960 to 1969) 1960s (n. the decade from 1960 to 1969) family (n. a social unit living together) housework (n. the work of cleaning and running a house) housekeeping (n. the work of cleaning and running a house) lifestyle (n. a manner of living that reflects the person's values and attitudes) housewife (n. a wife who manages a household while her husband earns the family income) homemaker (n. a wife who manages a household while her husband earns the family income) baby (n. a very young child (birth to 1 year) who has not yet begun to walk or talk) educational (adj. relating to the process of education) middle class (n. the social class between the lower and upper classes) family life (n. the domestic routine or way of living) child (n. a human offspring (son or daughter) of any age) domestic (adj. of or relating to the home) 00:23:38 - RELATIVES PLAYING WITH BABY. BIG SISTER. PEOPLE HOLDING NEWBORN 00:24:07 - MOTHER DOING THE WASHING. MOTHER PUTS DIAPERS CLOTHING IN WASHING MACHINE. CIRCA 1967. DRYER SPINNING. HOUSEHOLD CHORES. DIAPERS PILED UP. MOTHER FOLDING CLOTHES. 00:24:45 - GRANDMOTHER FEEDING BABY BOTTLE. IN ROCKING CHAIR. BIG BROTHER LOOKS ON. MOTHER PUTS DIAPER ON GRANDMOTHER'S SHOULDER 00:25:14 - MOTHER WASHES HER HANDS WASHES BABY BOTTLES. SANITIZES BOTTLES IN BIG POT. WASHING HANDS. WASHING BOTTLES WITH BOTTLE BRUSH. KITCHEN SINK. BOTTLES DRYING. FILLS BOTTLES WITH MILK. PUTS WATER IN BOTTLE. HEATS BOTTLES. DRIPS MILK FROM BOTTLE. PUTS BOTTLES IN REFRIGERATOR. GRANDMOTHER BURPS BABY. PATS BABY ON THE BACK 00:29:23 - BABY MOBILE. FATHER PLAYS WITH WITH BABY IN CRIB. RED BABY TOY. MOTHER TRIES TO GET BABY'S ATTENTION WITH TOYS. 00:30:54 - MOTHER CHANGES DIAPER. DRESSES BABY. PUTS BABY IN CARRIAGE. TUCKING COVERS UNDER MATTRESS. 00:33:32 - BABY SUCKS FINGERS. MOTHER PICKS BABY UP PUTS BABY TO BED. TURNS LIGHT OFF 00:35:03 - BABYSITTER ARRIVES KNOCKS ON WALL TO LET WOMAN KNOW SHE'S THERE. BABY SITTING. MOTHER GIVES SITTER INSTRUCTIONS BEFORE GOING OUT 00:35:50 - CU OPENING REFRIGERATOR PULLS OUT BABY BOTTLE. CU THERMOSTAT. 00:35:58 - MOTHER PACKING BABY BAG FOR TRIP BLANKETS BOTTLES BABY ACCOUTERMENTS NECESSITIES. CAR COOLER. 00:36:23 - FATHER DRESSES BABY. WRAPS BABY IN BLANKET. PUTS BABY IN BASSINET PORTABLE BABY BED. 00:37:03 - BABY LAYING DOWN KICKING FEET IN THE AIR PARENT STIMULATING BABY WITH A TOY 00:38:21 - MOTHER PUTS BABY IN CRIB. BABY ON STOMACH. 00:38:51 - GRANDMOTHER GIVES BABY A BOTTLE. 00:39:30 - MOTHER ON TELEPHONE. 00:39:46 - MOTHER HEATING BABY BOTTLE ON ELECTRIC STOVE. MAKING BABY FOOD. 00:40:08 - MOTHER PICKS UP BABY TALKING TO BABY. FEEDING BABY. BABY CHAIR. SPOON FEEDING 00:41:23 - TAPE ENDS 19498 V-8707 AMERICAN THEATRE FILMS 1897-1920 THEATER B&W Very Good Y 00:54:00 THE SOME OF EARLIEST FILMS IN EXISTANCE OF AMERICAN VAUDEVILLE AND THEATRE AND VARIETY ACTS AND PERFORMERS 1897-1920 01:00:02 - LAURA COMSTOCK AND HER BAG PUNCHING DOG - OPENS WITH THE HEAD AND SHOULDERS OF A WOMAN IN FULL DRESS AND HAT AND THE FRONT PAWS AND HEAD OF A BOXER VISIBLE BEHIND A SIGN THAT READS MISS LAURA COMSTOCK'S BAG PUNCHING DOG. VAUDEVILLE ACT 1901 CUTS TO THE DOG SITTING ON HIS HAUNCHES ON A STAGE WITH A PAINTED BACKDROP OF A TRAIL THROUGH A FOREST. AS THE DOG STARTS TO WANDER OFFSCREEN A LARGE PUNCHING BAG DROPS FROM ABOVE. HE LEAPS UP AND HITS THE SUSPENDED BAG WITH HIS HEAD AND BODY CAUSING IT TO SWING. THE DOG REPEATEDLY PUNCHES THE BAG IN THIS MANNER UNTIL HE KNOCKS IT DOWN COMPLETELY GRABS IT IN HIS MOUTH AND SHAKES IT FROM SIDE TO SIDE IN HIS TEETH. FROM EDISON FILMS CATALOG THIS WONDERFUL DOG MANNIE OWNED BY THE VAUDEVILLE STAR MISS LAURA COMSTOCK IS A MOST LEARNED ANIMAL. HE HAS BEEN TRAINED TO PERFORM ALL SORTS OF TRICKS AND HIS INTELLIGENCE IS PERHAPS MOST MARKED IN HIS LATEST AND MOST DIFFICULT FEAT THAT OF PUNCHING THE BAG. THIS PICTURE DEPICTS HIM IN A BAG PUNCHING PERFORMANCE WHICH IS REALLY WONDERFUL. HIS HIGH JUMPS AND LIGHTNING-LIKE PUNCHES ARE REMARKABLE AND CAUSE ONE TO MARVEL AT THE AMOUNT OF PATIENCE THAT MUST BE NECESSARY TO TEACH A DOG SUCH TRICKS. 01:01:39 - ENDS 01:01:41 - PROFESSOR LEONIDAS AND HIS TROUPE OF DOGS AND CATS 1903 VAUDEVILLE / VARIETY ACT ANIMAL ACT A MAN SITS AT THE DINNER TABLE WITH A ROW OF DOGS BEHIND HIM AND A BLACK DOG SITTING NEAR THE TABLE IN THE FOREGROUND. WHEN THE MASTER RINGS A BELL FOR SERVICE A DOG ENTERS ON HER HIND LEGS DRESSED IN A SERVANT'S CAP AND APRON. AS SHE HOPS TOWARD THE TABLE HOWEVER A CAT JUMPS UPON THE SURFACE. THE MASTER TOSSES THE CAT OFF THE TABLE AS THE SERVING DOG EXITS. THE MAN RINGS THE BELL AGAIN BUT GETS NO RESPONSE SO HE TAKES OFF HIS DINNER NAPKIN AND LEAVES THE STAGE. SEEING THIS THE BLACK DOG TURNS AND JUMPS ON THE TABLE WHERE HE PROMPTLY EATS HIS MASTER'S DINNER. THE BLACK DOG THEN GRABS THE CAT IN HIS MOUTH AND PLACES IT ON THE TABLE. AS THE MAN RETURNS TO THE TABLE HE SEES HIS EMPTY PLATE AND THE CAT CROUCHED NEARBY. THUS BLAMING THE CAT FOR THE STOLEN DINNER THE MAN FIRST SCOLDS THE FELINE AND THEN DRAWS A PISTOL AIMED AT THE THIEF. WHEN THE BLACK DOG SEES THE GUN HOWEVER HE JUMPS ON THE TABLE BETWEEN THE PISTOL AND THE CAT BEGGING ON HIS HIND LEGS FOR THE MASTER TO SPARE ITS LIFE. THE MAN GRABS THE DOG BY THE COLLAR DRAGGING HIM TO THE FLOOR AND INSTEAD SHOOTS THE UNLUCKY DOG. A LARGE DOG--PERHAPS A GREAT DANE--IN A POLICEMAN'S UNIFORM ENTERS ON HIS HIND LEGS GRABS THE MAN BY THE SHOULDERS FROM BEHIND AND CHASES HIM OFFSTAGE. THE OTHER DOGS FOLLOW IN AN EXCITED PACK. 01:02:35 - ENDS 01:02:36 - ANIMAL ACT CIRCA 1919 ( FILMED BY COMMONWEALTH PICTURES) OPENS ON A CLOSEUP OF A BABOON PLAYING A VIOLIN THEN CUTS TO A MEDIUM SHOT OF THE SAME. THE BABOON WEARS A WHITE SHORT-SLEEVED SHIRT WITH A LOOSE BOW TIE AND TWEED PANTS. CUTS TO A CLOSEUP OF THE BABOON IN A CIRCULAR MASK OR IRIS EFFECT WITHOUT THE VIOLIN BUT WITH A COLLAR AROUND HIS NECK AND A STRIPED KITTEN THAT HE PLACES ON HIS SHOULDER. ANOTHER IRIS EFFECT OPENS TO A LONG SHOT OF A STAGE WITH A PAINTED BACKDROP OF A RIVER. STANDING AT STAGE LEFT IS A WOMAN IN A SPANGLED SLEEVELESS DRESS TO THE KNEE AND HIGH LACED BOOTS HOLDING THE LEASH OF A DARK DONKEY. THE BABOON STANDS CENTER STAGE NEAR A MAN IN A WHITE ANIMAL TRAINER SUIT WITH DARK PIPING AND A WHITE CAP. ON A CHAIR STAGE RIGHT SITS A BLACK AND WHITE SPOTTED DOG. A SERIES OF CUTS SHOW THE BABOON PERFORMING VARIOUS TRICKS INCLUDING ROLLER-SKATING IN A CIRCLE AROUND THE MAN DOING A WALKING HANDSTAND CIRCLING THE STAGE ATOP A LARGE BALL AND RIDING THE BALL DOWN A RAMP WITH THE KITTEN IN HIS ARMS. THE DOG THEN CREATES FIGURE-EIGHTS THROUGH THE WOMAN'S LEGS AS SHE WALKS AND JUMPS A ROPE HELD BY THE WOMAN AND BABOON. CUTS TO THE BABOON RIDING A BICYCLE IN A CIRCLE AROUND THE MAN. CUTS TO THE BABOON LEADING THE DONKEY ONSTAGE AND THEN TO THE DONKEY APPARENTLY PLAY-BITING AND KICKING TWO MEN. THE GAG OF THE MEN TRYING TO MOUNT THE DONKEY--ONLY TO BE BITTEN KICKED OR THROWN OFF--IS REPEATED WITH ONE INTERTITLE A 100% KICK. ENDS AFTER THE BABOON JUMPS ON ONE MAN. THE FILM APPEARS TO BE AN UNCOPYRIGHTED SPANUTH'S ORIGINAL VOD-A-VIL MOVIE GIVEN THE SIMILARITIES IN CAMERA TECHNIQUE TO IDENTIFIED SPANUTHS. THIS IS A TRUE AND AUTHENTIC RECORD OF A CLASSIC CIRCA 1910'S ANIMAL ACT FILMED ON STAGE AS IF IT WERE IN A VAUDEVILLE OR VARIETY THEATRE 01:04:06 - ENDS 01:04:06 - TOM TINKER'S PONY PATTER / [COMMONWEALTH PICTURES CORPORATION ; HANS A. SPANUTH PRODUCER 1919 ]. AUTHENTIC VAUDEVILLE / VARIETY ANIMAL ACT AS SEEN ON THE VAUDEVILLE STAGE CAMERA IRIS OPENS TO SIX PONIES WITH DECORATED HARNESSES AND PLUMED HALTERS STANDING IN THE CENTER OF A STAGE WITH A PAINTED BACKDROP OF MOUNTAINS. CUTS TO TWO PONIES ON A SEESAW WITH A MOUSTACHED MAN IN A WHITE UNIFORM WITH DARK PIPING AND A WHITE CAP HOLDING THEIR LEADS. A SECOND TRAINER IN A DARK SUIT CAN ALSO BE SEEN OCCASIONALLY WITH THE PONIES. INDIVIDUAL PONIES PERFORM A VARIETY OF TRICKS INCLUDING ROLLING A SLATTED BARREL ACROSS THE STAGE WITH FRONT LEGS AND THEN WITH A NOSE KNOCKING OVER THE BARREL LIMPING ACROSS THE STAGE WITH ONE FRONT LEG HELD OFF THE GROUND AND PUSHING THE TRAINER OVER WITH A NOSE-BUTT. CUTS TO THE SIX PONIES LINED UP AT THE BACK OF THE STAGE WITH EACH PONY'S HEAD LYING OVER THE NECK OF THE PONY IN FRONT OF HIM. CUTS TO THE PONIES CIRCLING THE TRAINER IN A STRAIGHT RADIAL LINE AND THEN IN VARIOUS COMBINATIONS INCLUDING THREE BY THREE PAIRS AND SINGLY. THE PONIES FINISH THEIR CIRCLING BY WALKING IN A STRAIGHT LINE TO THE FRONT OF THE STAGE AND THEN BOWING ON THEIR KNEES. CUTS TO A CLOSEUP OF THE SIX PONIES IN A LINE FACING THE CAMERA WHICH CLOSES IN AN IRIS EFFECT TO BLACK. THE FILM APPEARS TO BE AN UNCOPYRIGHTED SPANUTH'S ORIGINAL VOD-A-VIL MOVIE GIVEN THE SIMILARITIES IN TITLE GRAPHICS AND CAMERA TECHNIQUE TO IDENTIFIED SPANUTHS. 01:06:11 - ENDS 01:06:13 - JUMBO THE TRAINED ELEPHANT / [COMMONWEALTH PICTURES CORPORATION ; HANS A. SPANUTH PRODUCER 1919]. CAMERA IRIS OPENS FROM BLACK TO A SMILING MAN STANDING IN FRONT OF AN ELEPHANT WHO IS SEATED ON HER HAUNCHES ON A STOOL WITH HER FRONT LEGS RAISED IN THE AIR. THEY ARE APPARENTLY ON A STAGE WITH A PAINTED BACKDROP OF A FOREST. THE MAN GIVES THE ELEPHANT A TREAT WHO THEN STANDS AS THE IRIS CLOSES. ANOTHER IRIS EFFECT OPENS ON A STAGE WITH A PAINTED BACKDROP OF A CASTLE. A MAN ENTERS DRESSED IN A TRAINER OR RINGMASTER'S UNIFORM OF A DARK SUIT WITH SHOULDER BRAIDS AND A WHITE CAP. HE IS FOLLOWED BY JUMBO A SMALL INDIAN ELEPHANT WITH CLIPPED TUSKS WEARING A HEADRESS OR HEADBAND. BOTH BOW TO THE CAMERA. A CIRCUS STOOL IS ROLLED ON THE STAGE AND JUMBO STEPS ONTO IT WITH HER FRONT LEGS. A PONY AND DOG ENTER THE STAGE AND CREATE A DOMINO EFFECT BEHIND THE ELEPHANT WITH THE PONY'S FRONT LEGS ON JUMBO'S REAR AND THE DOG'S FRONT LEGS ON THE PONY'S REAR. CUTS TO THE DOG MAKING FIGURE EIGHTS AROUND JUMBO'S LEGS AS THE ELEPHANT WALKS. CUTS TO JUMBO LYING DOWN THEN THE PONY AND DOG STAND ON EITHER SIDE OF HER WITH THEIR FRONT LEGS ON HER SIDES. CUTS TO THE PONY WALKING ACROSS THE STAGE ON ITS HIND LEGS AND THEN BOWING WITH THE TRAINER TO THE CAMERA. CONT. CUTS TO JUMBO CLIMBING ON THE CIRCUS STOOL WITH ALL FOUR LEGS. THE TRAINER GIVES HER ONE END OF A ROPE TO HOLD WITH HER TRUNK AND HE TWIRLS THE OTHER END AS THE DOG JUMPS THE ROPE. THE TRAINER AND THE DOG THEN JUMP THE ROPE TOGETHER AS JUMBO WATCHES. CUTS TO THE ELEPHANT SITTING ON THE STOOL AS THE TRAINER PLACES A HANDBELL ON A SMALL TABLE IN FRONT OF HER. JUMBO PICKS UP THE BELL WITH HER TRUNK AND RINGS IT. THE MAN SETS A PLATE ON THE TABLE FROM WHICH JUMBO EATS AND THEN TOSSES ASIDE. SHE RINGS THE BELL AGAIN AND APPEARS TO DRINK FROM THE BOTTLE WHICH HER TRAINER BRINGS IN RESPONSE. A SERIES OF JUMP CUTS SHOW JUMBO CRAWLING ON THE GROUND IN A CIRCLE ON HER BACK KNEES STANDING ON HER HIND LEGS PERFORMING A HANDSTAND ON HER FRONT LEGS BALANCING ON THE CIRCUS STOOL WITH VARIOUS COMBINATIONS OF TWO LEGS AND DANCING IN PLACE WITH HER FRONT LEGS. CUTS TO A FRAME OF INTERTITLE OH! HOW SHE DANCES. WITH HER BACK TO THE CAMERA JUMBO SHUFFLES HER HIND LEGS IN A KIND OF DANCE. CUTS TO A CLOSEUP OF JUMBO'S OPEN MOUTH AS SHE WALKS TOWARD THE CAMERA. CLOSES WITH HER PICKING UP A SERIES OF FLAGS ON THE GROUND WITH HER TRUNK AND TOSSING THEM OVER HER BACK. SHE HOLDS THE LAST ONE--A U.S. FLAG--AS SHE TURNS IN A CIRLE THE TRAINER BOWS AND THE DOG EXCITEDLY JUMPS AROUND ON STAGE. REISSUED BY U.S. PERSONAL FILM CO. AT AN UNKNOWN DATE WITH THREE OTHER SPANUTH ACTS TWO OF WHICH WERE COPYRIGHTED UNDER DIFFERENT RELEASE NUMBERS AS VAUDEVILLE DE-LUXE FOUR ACTS ; AMERICAN VAUDEVILLE AUTHENTIC ANIMAL ACT AS IT APPEARED ON THE CIRCA 1910'S STAGE 01:10:51 - ENDS 01:10:52 - 1900 BURLESQUE ACT - TWO STAGE GIRLS PULL BACK STAGE CURTAIN TO REVEAL A LARGE CLAM SCALLOP SHELL - SHELL SLOWLY OPENS REVEALING A NAKED LADY SLEEPING WHO THEN STANDS UP - CURTAINS CLOSE 01:11:47 - ENDS 01:12:01 - FROM SHOW GIRL TO BURLESQUE QUEEN / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1903 OPENS ON A DRESSING ROOM SET WITH A MIRROR DRESSING TABLE AND CHAIR CENTER STAGE AND A FOLDED DRESSING SCREEN ON THE LEFT. A SMILING DARK-HAIRED WOMAN ENTERS THROUGH THE DOOR ON STAGE RIGHT UNBUTTONING A FULL-LENGTH POLKA-DOT COSTUME. AS SHE UNDRESSES SHE FREQUENTLY LOOKS DIRECTLY AT THE CAMERA AND SMILES. SHE REMOVES HER SASH OR CUMMERBUND THE TOP WITH ITS TRAILING SLEEVES AND HER SKIRT LEAVING HER CLOTHED ONLY IN A SLEEVELESS CHEMISE. SMILING DIRECTLY AT THE CAMERA SHE MISCHIEVOUSLY SLIPS A STRAP OF THE GARMENT OFF ONE SHOULDER THEN DUCKS BEHIND THE SCREEN. AFTER THE CHEMISE IS THROWN OVER THE TOP OF THE SCREEN HER ARM FURTIVELY REACHES OUT FROM BEHIND THE SCREEN AND GRABS A SLIGHT GARMENT FROM THE BACK OF THE CHAIR AND SOME ITEMS FROM THE DRESSING TABLE. SHE THEN EMERGES WEARING A RISQUe9 DECORATED COSTUME WITH CAP SLEEVES AND A VERY SHORT SKIRT GATHERED AT THE WAIST. HER LEGS APPEAR TO BE BARE. THE WOMAN BRANDISHES A SWORD GRABBED FROM UNDER THE DISCARDED DRESS AND STRIKES A SEDUCTIVE POSE AS THE VIEWER GLIMPSES A COSTUMED MAN ENTERING THE ROOM. 01:13:04 - ENDS 01:13:14 - KARINA / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1902 EARLY BURLESQUE ACT / PERFORMER ON A BARE STAGE WITH A BLACK BACKGROUND STANDS A WOMAN WITH SHORT CURLY HAIR WEARING A DARK DRESS WITH A SLEEVELESS TOP LOW-CUT BODICE MID-CALF LENGTH SKIRT AND LAYERS OF PETTICOATS. SMILING AT THE CAMERA SHE SEDUCTIVELY RAISES HER SKIRT TO REVEAL THE MULTIPLE WHITE PETTICOATS AS WELL AS HER LACY WHITE BLOOMERS TO THE KNEES WHITE TIGHTS AND A GARTER ON HER RIGHT THIGH. PEERING OVER HER LIFTED SKIRT KARINA SLOWLY TURNS AROUND AND THEN LOWERS TO HER KNEES AND LEANS BACK CIRCLING WITH HER UPPER BODY AND ARMS. STILL HOLDING UP THE SKIRT SHE RETURNS TO STANDING. WITH HER BACK TO THE VIEWER SHE BEND BACKWARDS AT THE WAIST SO THAT SHE LOOKS AT THE CAMERA AND DRAMATICALLY COVERS HER FACE WITH ONE ARM. KARINA THEN STANDS BACK UP AND TURNS TO THE CAMERA. LIFTING HER SKIRT SHE PERFORMS A DANCE CONSISTING OF CIRCLES LEG LIFTS AND TWIRLS. A WOMAN DRESSED AS A CAN-CAN DANCER STANDS IN THE CENTER OF THE STAGE AND FOR THE FULL EXTENT OF THE FILM SHE RAISES THE HEM OF HER DRESS AS SHE TWIRLS AROUND. FILM MISSING ORIGINAL TITLE PERFORMER IS KARINA EARLY STRIP TEASE FILM FROM 1902 01:13:39 - ENDS 01:13:48 - KISS ME / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1904. BURLSEQUE OPENS ON A STAGE SET OF A STREET WITH A SIDEWALK AND A HIGH FENCE COMPLETELY COVERED WITH FEMALE BURLESQUE TROUPE POSTERS. THE FOUR POSTERS VISIBLE ADVERTISE ACTUAL CONTEMPORARY BURLESQUERS FRED IRWIN'S MAJESTICS ROSE SYDELL (OF HER LONDON BELLES) PHIL SHERIDAN'S NEW CITY SPORTS (WITH THE TAG LINE AIN'T WE THREE BIRDS ) AND THE RENTZ-SANTLEY CO. ONE OF THE CENTER POSTERS--THAT FOR ROSE SYDELL--FEATURES AN ATTRACTIVE WOMAN WITH NUDE SHOULDERS. TWO WELL-DRESSED WOMEN PASS ALONG THE SIDEWALK GLANCING DISAPPROVINGLY AT THE IMAGES COVERING THE FENCE. THEY ARE FOLLOWED BY A WOMAN AND A YOUNGER GIRL PERHAPS HER DAUGHTER. THE LATTER PAUSES TO LOOK AT THE SYDELL POSTER; THE OLDER WOMAN LOOKING BACK REACTS IN HORROR AT WHAT SHE SEES AND DRAGS THE GIRL AWAY. AN OLDER BEARDED GENTLEMAN THEN STROLLS BY ENJOYING AN EYEFUL OF THE POSTERS AND IS ABOUT TO WALK OFF WHEN HE IS DRAWN BACK TO THE WOMAN IN THE ROSE SYDELL AD. HE JUMPS AS SHE SEEMINGLY COMES TO LIFE AND TURNS TO LOOK AT HIM SEDUCTIVELY PURSING HER LIPS. THE MAN RUBS HIS EYES BUT STILL THE WOMAN IN THE POSTER WATCHES HIM. HE FINALLY PUTS ON HIS EYEGLASSES AND EXAMINES THE GIRL CLOSELY. UNBEKNOWNST TO HIM AN OLDER WOMAN ENTERS THE SCENE. SHOCKED SHE GRABS THE MAN BY HIS EAR AND DRAGS HIM AWAY AS HE BLOWS A KISS TO THE POSTER. FROM BIOGRAPH BULLETIN NO. 55 A HIGH BOARD FENCE IS SHOWN COVERED WITH THEATRICAL POSTERS. THE ONE IN THE CENTER SHOWS THE HEAD AND SHOULDERS OF A PRETTY GIRL. AN OLD FARMER AND HIS WIFE ARE STROLLING ALONG THE OLD GENTLEMAN BEING A LITTLE AHEAD. HE LOOKS AT THE PICTURE OF THE GIRL AND FANCIES HE SEES THE EYES WINKING AT HIM. HE PUTS ON HIS GLASSES TO MAKE SURE THAT HE IS NOT DREAMING WHEN THE GIRL LEANS FORWARD WITH AN EXPRESSION AS IF INVITING HIM TO HAVE A KISS. THE OLD MAN IS ABOUT TO TAKE ADVANTAGE OF HIS DELUSION WHEN HIS WIFE APPEARS ON THE SCENE AND TAKING HIM BY THE EARS RUSHES HIM AWAY. 68 FEET. CLASS B. 01:14:57 - ENDS 01:15:06 - PITY THE BLIND NO. 2 / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1904 . FILMED VERSION OF A POPULAR VAUDEVILLE GAG AS IF FROM THE AUDIENCE OF A VARIETY THEATER. A BOY HOLDING A SIGN UNDER HIS ARM LEADS A MAN ONTO A STAGE WITH A PAINTED BACKDROP OF A CITY STREET CORNER. WITH HIS DARK GLASSES AND CANE THE MAN IS APPARENTLY BLIND. HE KNEELS DOWN SLIGHTLY LEFT OF CENTER STAGE AND LAYS DOWN HIS HAT AND CANE WHILE THE BOY TURNS THE PLACARD AROUND SO THAT IT READS PITY THE BLIND PLACES IT AROUND THE MAN'S NECK AND EXITS THE STAGE. A GENTLEMAN WITH A CIGAR CROSSES THE STAGE PAUSES TO READ THE SIGN AND DROPS SOME MONEY IN THE BLIND MAN'S HAT. HE IS FOLLOWED BY TWO WELL-DRESSED WOMEN IN FURS AND LONG COATS WHO ALSO LEAVE COINS FOR THE BEGGAR AFTER SEARCHING THEIR PURSES. AS THEY START TO EXIT HOWEVER ONE OF THE WOMEN STOPS AND RAISES HER SKIRT TO ADJUST HER TIGHTS. BEHIND HER BACK THE SUPPOSED BLIND MAN SLIDES HIS DARK GLASSES DOWN HIS NOSE AND OGLES THE WOMAN'S EXPOSED LEG. WITH THE LEGGINGS IN PLACE THE WOMEN EXIT THE STAGE NONE THE WISER LEAVING BEHIND A SMILING BLIND MAN. 01:16:03 - ENDS 01:16:08 - PRINCESS RAJAH DANCE / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1904 . PRINCESS RAJAH PERFORMS AN ORIENTAL OR BELLY DANCE AND A BALANCING CHAIR ACT IN HER TEETH LIKE THAT OFTEN FOUND IN FOLK PERFORMANCES IN VARIOUS CULTURES FROM NORTHERN AFRICA TO GREECE. SHOT OUTDOORS IN A STREET SCENE AT THE ST. LOUIS EXPOSITION THE FILM CAPTURES HER ACT IN AN EXTREME LONG SHOT. SHE WEARS A DARK SLEEVELESS DRESS TO MID-CALF WITH A FRINGED LOW-CUT BODICE AND FRINGED BELT WORN AT THE WAIST OVER MULTIPLE PETTICOATS BLOOMERS STOCKINGS AND HEELED SHOES. WHILE PLAYING FINGER CYMBALS PRINCESS RAJAH PERFORMS A VARIETY OF DANCE MOVEMENTS THAT INCLUDE SPINS TRAVELING MOVEMENTS SHOULDER AND HIP SHIMMIES A FRONTAL HIP LOCK OTHER HIP MOVEMENTS AND PIROUETTES. SHE THEN GRABS A DECORATED CHAIR IN HER TEETH AND SWINGS IT ABOVE HER HEAD PLAYING THE FINGER CYMBALS AND PERFORMING TRAVELING FOOT MOVEMENTS FOLLOWED BY FLOOR WORK WITH THE CHAIR. RETURNING TO A STANDING POSITION STILL WITH THE CHAIR IN HER MOUTH SHE PERFORMS SHIMMIES AND HIP MOVEMENTS WHILE PLAYING THE FINGER CYMBALS THEN LOWERS THE CHAIR IN FRONT OF HER FACE AND SPINS. SHE PUTS THE CHAIR DOWN WITH A FLOURISH MAKES A CLOSING GESTURE TO THE CAMERA AND STARTS TO EXIT THE FRAME. 01:17:20 - ENDS 01:17:32 - TRAPEZE DISROBING ACT / THOMAS A. EDISON INC 1901 . CAMERA IS POSITIONED AS IF IN THE AUDIENCE AT A VAUDEVILLE OR BURLESQUE SHOW. TWO MEN WITH LONG HAIR AND BEARDS IN ROUGH CLOTHING APPEAR TO BE EATING AND TALKING IN A BOX ON THE LEFT AS A FEMALE AERIALIST SITS ON A TRAPEZE OVER THE STAGE AND ITS PAINTED BACKDROP OF TREES. FULLY DRESSED IN STREET CLOTHING THE TRAPEZIST REMOVES HER JACKET AND HAT BEFORE PERFORMING A FLIP. SHE STANDS TO REMOVE HER SKIRT AND THEN SITS BACK DOWN ON THE BAR AS SHE TAKES OFF HER CORSET AND THROWS IT TO THE COUNTRY BUMPKINS IN THE BOX WHO FIGHT OVER THE UNDERGARMENT. THE TRAPEZIST CONTINUES TO DISROBE REMOVING HER SHOES STOCKINGS AND GARTERS AGAIN THROWING THE LATTER TO THE MEN AND THEN SEEMINGLY HANGS UPSIDE DOWN (WITH HER FEET ANCHORED OFF-CAMERA) AS SHE SLIPS OFF HER PETTICOAT. THUS CLAD ONLY IN TIGHTS TRUNKS AND A CAMISOLE THE WOMAN PERFORMS HER TRAPEZE ACT TO THE INCREASINGLY EXCITED MEN. BURLESQUE 1901 FROM EDISON FILMS CATALOG THE SCENE IS ON THE STAGE OF A VAUDEVILLE THEATRE. A LADY DRESSED IN EVENING COSTUME IS PERFORMING ON A TRAPEZE. TWO RUBES ARE SEATED IN A BOX IN THE THEATRE. THE LADY BEGINS TO DISROBE AND HERE THE FUN COMMENCES. AS SHE REMOVES HER GARMENTS ONE BY ONE AND THROWS THEM AT OUR RURAL FRIENDS THEY BEGIN GOING THROUGH ANTICS WHICH TO SAY THE LEAST ARE HIGHLY AMUSING. WHEN THE STOCKINGS COME OFF THE CLIMAX TAKES PLACE. THE RUBES JUMP FROM THEIR SEATS AND MAKE THINGS LIVELY FOR A SHORT TIME IN THE THEATRE. CLASS A 100 FT. $15.00. 01:19:54 - ENDS 01:20:00 - ALPHONSE AND GASTON NO. 3 / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1903 . OPENS ON A SET OF A SALOON OR TAVERN WITH A LONG BAR AND PICTURES ON THE WALL THAT INCLUDE BOXERS A BALLERINA AND A RECLINING FEMALE. AT THE END OF THE BAR STANDS THE BARTENDER READING A NEWSPAPER. TWO MEN DRESSED AS THE CLOWNISH CHARACTERS OF ALPHONSE AND GASTON ENTER THE BAR. BOTH HAVE DARK BUSHY HAIR AND BEARDS AND WEAR HATS WITH ONE DRESSED IN A DARK JACKET AND CHECKERBOARD PANTS AND THE OTHER WEARING A PLAID JACKET DARK TROUSERS AND SPATS. ALPHONSE AND GASTON ORDER A BOTTLE THEN POLITELY AND REPEATEDLY INSIST THAT THE OTHER SHOULD TAKE THE FIRST DRINK. A COWBOY DRESSED IN FRINGED CHAPS BOOTS A WESTERN HAT AND A NECK KERCHIEF ENTERS THE BAR A PISTOL IN EACH HAND AND LAUGHS AT THE FRENCHMEN'S ANTICS. HE BEGINS SHOOTING AT THEIR FEET FORCING THEM TO DANCE WHILE HE AND THE BARTENDER HAVE A GOOD LAUGH. AS THE BARTENDER BEGINS TO SPRITZ THEM FROM SODA BOTTLE ALPHONSE AND GASTON EXIT THE BAR DANCING. THE COWBOY WALKS TO THE BAR AND POURS HIMSELF THEIR DRINK AS HE AND THE BARTENDER CONTINUE TO LAUGH OVER THE INCIDENT. 01:20:57 - ENDS 01:21:02 - AS IN A LOOKING GLASS / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1903 OPENS ON A SPLIT STAGE SET OF TWO ROOMS WITH A DOOR AND WALL BETWEEN THEM. IN THE LIVING OR DINING ROOM ON THE LEFT OF THE FRAME AN ELDERLY BEARDED MAN SITS AT A TABLE READING THE NEWSPAPER. IN THE BEDROOM ON THE RIGHT A BOY IN A SUIT WITH SHORT PANTS ATTACHES A LONG STRING TO THE END OF A DRESSER DRAWER WITH THE OTHER END HANGING FROM A HOLE IN THE WALL TO THE OTHER ROOM. AS THE BOY WORKS AND WATCHES A WOMAN DRESSED IN A LONG-SLEEVED WHITE BLOUSE STRIPED SKIRT TO THE KNEE AND DARK STOCKINGS ENTERS THE MAIN ROOM WITH A PITCHER WHICH SHE SETS ON THE TABLE IN FRONT OF THE GENTLEMAN AND THEN EXITS. THE BOY FINISHES WITH THE DRAWER REPLACING IT IN THE BUREAU AND THEN QUIETLY ENTERS THE OTHER ROOM UNNOTICED. HE FEEDS MORE OF THE STRING THROUGH THE HOLE IN THE WALL ATTACHES THE LOOP AT THE END OF IT TO A LEG OF HIS GRANDFATHER'S CHAIR AND RETREATS TO THE DOOR TO WATCH. THE WOMAN ENTERS THE BEDROOM AND POWDERS HER FACE AND FIXES HER HAIR IN THE MIRROR ABOVE THE DRESSER. SHE TRIES TO OPEN THE TOP DRAWER--THE ONE THE BOY HAS RIGGED--BUT IT APPEARS STUCK. AFTER STRUGGLING WITH IT SHE SUCCEEDS IN YANKING IT OPEN FALLING BACKWARDS IN THE PROCESS. AS THE DRAWER OPENS THE ATTACHED STRING PULLS OVER THE MAN AND THE CHAIR. WHEN THE MAN SEES THE BOY JUMPING WITH DELIGHT AT THE DOOR HE CHASES HIS GRANDSON OUT OF THE ROOM. FROM BIOGRAPH BULLETIN NO. 8 HOW TOMMY GOT A PULL ON HIS GRANDPA. 65 FEET. THIS IS A COMPANION PICTURE TO TOMMY'S RINGING GOOD JOKE. TOMMY TIES A CORD TO HIS GRANDFATHER'S CHAIR AND FASTENS IT TO A BUREAU IN THE NEXT ROOM. THE MAID ATTEMPTS TO OPEN THE DRAWER AND UPSETS THE OLD GENTLEMAN WITH DISASTROUS RESULTS. 01:22:09 - ENDS 01:22:22 - THE BOYS THINK THEY HAVE ONE ON FOXY GRANDPA BUT HE FOOLS THEM / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1902 OPENS ON A STAGE WITH A STONE FENCE AND A PAINTED BACKDROP OF A FOREST OR GARDEN. IN FRONT OF THE FENCE IS A BENCH ON WHICH SITS JOSEPH HART AS THE CARTOON CHARACTER OF FOXY GRANDPA READING A NEWSPAPER OR MAGAZINE. HE SPORTS A BALD PATE WITH WHITE BUSHY HAIR ON THE SIDES A LARGE BULBOUS NOSE AND A POTBELLY AND WEARS SPATS WITH A LIGHT-COLORED SUIT VEST AND TIE. FROM STAGE RIGHT ENTER TWO MISCHIEVOUS BOYS CHUB AND BUNT DRESSED IN MATCHING SUITS WITH SHORT PANTS TO THE KNEE AND DARK STOCKINGS BOOTS AND CAPS. ONE OF THE BOYS CARRIES A BANJO. THEY STOP AND GESTURE AT FOXY GRANDPA LAUGHING AND HAND HIM THE BANJO WHEN HE LOOKS UP AND NOTICES THEM. AS THE BOYS LAUGH AND POKE EACH GRANDPA BEGINS TO PLAY THE BANJO LIKE A PRO INDUCING THE BOYS TO ENGAGE IN A BIT OF TAP OR SHUFFLE DANCING. WHEN THEY FINISH FOXY GRANDPA TAKES THE FLOOR WHILE PROVIDING HIS OWN MUSIC ON THE BANJO. AS THE BOYS CLAP AND WATCH IN AMAZEMENT GRANDPA TAP DANCES AND PERFORMS ADVANCED MOVEMENTS SUCH AS SPLIT KICKS. CLOSES WITH ALL THREE DANCING OFFSTAGE. 01:23:36 - ENDS 01:24:49 - CHIMMIE HICKS AT THE RACES / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1900 . FILMING OF A CHARACTER SKETCH BY THE WELL-KNOWN VAUDEVILLIAN CHARLES E. GRAPEWIN. ON A BARE STAGE BACKED BY A DARK CURTAIN A MAN DRESSED IN A THREE-PIECE SUIT AND OVERCOAT HOLDS A RACING PROGRAM AND EXCITEDLY WATCHES A RACE SUPPOSEDLY TAKING PLACE OFFSTAGE. WITH ENTHUSIASTIC JUMPING AND OTHER DELIGHTED PANTOMIME HE MAKES IT CLEAR HIS HORSE HAS WON THE RACE. A SECOND MAN IN A SUIT AND HAT ENTERS FROM STAGE RIGHT AND PAYS CHIMMIE HIS WINNINGS A PORTION OF WHICH THE GAMBLER RETURNS TO THE MAN FOR ANOTHER BET. WITH THE START OF THE SECOND RACE HE AGAIN WATCHES WITH RISING EXCITEMENT BUT SUDDENLY HIS FACE FALLS AND HE ANGRILY THROWS HIS HAT ON THE GROUND HAVING EVIDENTLY LOST THIS TIME. THE OTHER MAN RETURNS AND COLLECTS ALL OF CHIMMIE'S MONEY PLUS HIS POCKETWATCH. THE REPENTANT GAMBLER THEN KNEELS SHAKES HIS ARMS TO THE HEAVENS RIPS UP HIS PROGRAM AND SCATTERS THE PIECES ON THE GROUND APPARENTLY SWEARING OFF BETTING. HE RISES PULLS ON HIS HAT AND DEJECTEDLY BEGINS TO WALK OFFSTAGE. FROM BIOGRAPH PICTURE CATALOGUE NOV. 1902 [MI] P. 62 48 FEET. CHARLES E. GRAPEWIN AS CHIMMIE HICKS OF NEW YORK 01:24:56 - THE CHIMNEY SWEEP AND THE MILLER / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1902 FILMING OF A POPULAR VAUDEVILLE GAG. OPENS ON A STAGE WITH A PAINTED BACKDROP OF A LAKE AND FOREST. FROM OPPOSITE SIDES OF THE STAGE ENTER A CHIMNEY SWEEP COVERED FROM HEAD TO TOE WITH BLACK SOOT AND CARRYING A FOLDING BROOM AND BLACK SACK AND A MILLER DRESSED COMPLETELY IN WHITE AND CARRYING A WHITE SACK. THE TWO MEN BUMP INTO EACH OTHER CENTER STAGE WITH SOME OF THE SWEEP'S SOOT DIRTYING THE MILLER'S UNIFORM. THEY EXCHANGE ANGRY WORDS AND THEN BEGIN HITTING EACH OTHER WITH THEIR SACKS. AS EXPECTED BLACK SOOT FROM THE CHIMNEY SWEEP'S BAG SPOTS THE MILLER'S WHITES AND WHITE FLOUR FROM THE MILLER'S SACK LANDS ON THE SWEEP'S DARK CLOTHING. THE BRAWL CULMINATES WITH A LARGE CLOUD OF BLACK AND WHITE IN WHICH THE MEN SEEM TO DISAPPEAR. FROM BIOGRAPH PICTURE CATALOGUE NOV. 1902 [MI] P. 32 33 FEET. A CHIMNEY SWEEP AND A MILLER BECOME INVOLVED IN A STREET FIGHT. THE SWEEP HAS A BAG OF SOOT ON HIS BACK AND THE MILLER A BAG OF FLOUR. THE FIGHT CAUSES A LIVELY MIXUP OF BLACK AND WHITE WITH MOST AMUSING EFFECTS 01:25:29 - ENDS 01:25:34 - DANCING BOXING MATCH MONTGOMERY AND STONE / WINTHROP MOVING PICTURE COMPANY 1907 . VERY SHORT VAUDEVILLE TURN FROM THE WELL-KNOWN TEAM OF MONTGOMERY AND STONE. APPEARS TO HAVE BEEN FILMED OUTDOORS IN FRONT OF BLACK PAPER TAPED UP ON A WALL AS A BACKDROP. TWO MEN BOX IN A COMEDIC MANNER WITH THE FILM OPENING AS ONE MAN IN A CAP PUNCHES THE OTHER AND THEN DUCKS BEHIND HIM. THE SECOND MAN SWINGS WILDLY THROUGH THE AIR CAUSING HIM TO FALL DOWN IN AN ACROBATIC SHOULDER ROLL THAT IN TURN PROPELS HIM BACK TO A STANDING POSITION. HE TURNS AND FINDS HIS OPPONENT THEN APPROACHES HIM SWINGING AS THE FILM ENDS ABRUPTLY. MONTGOMERY AND STONE WERE IN THE FIRST STAGE PRODUCTION OF THE WIZARD OF OZ 1903 01:25:43 - ENDS 01:25:44 - DOG FACTORY / THOMAS A. EDISON INC. CREATED/PUBLISHED UNITED STATES EDISON MANUFACTURING CO. 1904. SUMMARY IN THE MIDDLE OF A STORE OR FACTORY SET SITS A MACHINE IDENTIFIED AS THE PATENT DOG TRANSFORMATOR. ON THE WALLS BEHIND IT ARE COILS OF SAUSAGES OR HOT DOGS LABELED WITH THE NAME OF THE DOG THEY REPRESENT POINTER SETTER FIGHTING BULL BULL TERRIER SPANIEL POODLE PLAIN DOG TRAINED DOG BULL PUPS BOSTON BULL DASCHUND [SIC] MUT AND PUG. AT THE TOP OF THE BACK WALL IS A SIGN THAT READS DOGS MADE WHILE YOU WAIT--DOG FACTORY--DOGS MIXED TO ORDER. A BEARDED MAN IN A SUIT STANDS BY THE MACHINE LOOKING BORED AS HIS PARTNER IN A CAP AND APRON DUSTS THE ROWS OF SAUSAGES. A TRAMP ENTERS THE STORE WITH A STRING OF THREE DOGS WHICH HE SELLS TO THE MAN IN THE SUIT. ONE BY ONE THE THREE DOGS ARE LOADED INTO THE TOP OF THE MACHINE CRANKED BY THE MAN IN THE APRON AND TRANSFORMED INTO LINKS OF SAUSAGE THAT COME OUT THE RIGHT END OF THE CONTRAPTION. THESE LINKS ARE THEN HUNG UP IN THEIR PROPER PLACES ON THE WALL PLAIN DOG TRAINED DOG AND BOSTON BULL. A MAN IDENTIFIED AS A DANDY WITH HIS CANE AND STRAW TOPPER ENTERS AND ORDERS A SPANIEL. THE PROCESS IS THEN REVERSED AS THE APPROPRIATE COIL OF MEAT IS TAKEN OFF THE WALL AND PUT IN THE TOP OF THE MACHINE RESULTING IN A DOG EXITING FROM THE LEFT END OF THE TRANSFORMATOR. THE NEXT CUSTOMER A WOMAN ORDERS A DACHSHUND BUT THE DOG PROVES TOO JUMPY FOR HER AND IS CHANGED BACK TO A SAUSAGE; THE WOMAN THEN SETTLES ON A TERRIER AND LEAVES HAPPILY WITH HER PURCHASE [END OF PART 1]. CONT. A MAN IN A SUIT ENTERS THE FACTORY AND ORDERS A TRAINED DOG. THE RESULTING CANINE DOES TRICKS SUCH AS A BACK-FLIP AT THE URGING OF THE OWNER IN THE APRON AND THE CUSTOMER LEAVES SATISFIED. WHEN THE NEXT WOMAN REQUESTS A SMALL DOG A STRING OF BULL PUPS ARE PRODUCED FOR HER FROM WHICH SHE SELECTS HER FAVORITE; THE REST OF THE PUPPIES ARE TURNED BACK TO SAUSAGE. FINALLY A TOUGH ENTERS THE STORE AND ORDERS A BOSTON BULL BUT HE REJECTS THE RESULTING DOG AS NOT MEAN ENOUGH. THE FACTORY OWNERS THEN CREATE A FIGHTING BULL WHICH COMES OUT OF THE TRANSFORMATOR BITING. IN THE RESULTING COMMOTION WITH THE BOSTON BULL ALSO RUNNING AROUND THE STORE THE FIGHTING BULL GRABS THE TOUGH BY THE SEAT OF HIS PANTS AND THE TWO WRESTLE. THE FACTORY OWNERS LAUGH AS THE BULL AND CUSTOMER EXIT THE SHOP STILL FIGHTING. FROM EDISON FILMS CATALOG ON THE WALLS OF THE FACTORY A LOT OF DIFFERENT VARIETIES OF FRANKFURTERS ARE HUNG. EACH IS MARKED WITH THE BREED OF DOG IT IS MADE FROM. A COMBINED DOG AND BOLOGNA MAKING MACHINE IS SEEN IN THE FOREGROUND AND TWO GERMANS ARE WORKING INDUSTRIOUSLY OVER IT. A TRAMP ENTERS WITH ABOUT A DOZEN DOGS OF VARIOUS TYPES AND SELLS THEM TO THE GERMANS. THEY ARE SOON TRANSFORMED INTO SAUSAGE AND THE TRAMP DEPARTS WITH HIS CASH. A DUDE NOW ENTERS WHO WANTS TO BUY A SPANIEL. THE DOG IS QUICKLY MADE AND SOLD. A NUMBER OF CUSTOMERS FOLLOW AND ARE SUPPLIED WITH DOGS THAT SUIT THEIR FANCIES. FINALLY A TOUGH ENTERS WHO WANTS A BULL DOG. A BOSTON BULL IS PRODUCED BUT DOES NOT SUIT HIM. HE WANTS A FIGHTING BULL. THE DOG IS MADE AND AS HE JUMPS FROM THE MACHINE HE GRABS THE TOUGH BY THE PANTS AND DOG AND MAN MIX UP IN A ROLLING MATCH ALL OVER THE FLOOR. THE TOUGH FINALLY RELEASES HIMSELF AND DISAPPEARS LEAVING THE FIGHTING BULL DOG TO BE AGAIN TURNED INTO BOLOGNA. 01:39:01 - ENDS 01:39:12 - THE UNEXPEXTED SKATE - COMSDY SCENE - TWO BOYS PUT PAIR OF ROLLERSKATES ON SLEEPING TRAMP WHO WAKES UP AND SLIPS AND SLIDES ACROSS THE STAGE CIRCA 1900 01:40:01 - ENDS 01:40:07 - 2 A.M. IN THE SUBWAY / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1905 . OPENS ON A SET OF A SUBWAY PLATFORM WITH TWO TRACKS ON EITHER SIDE AND STAIRS LEADING UP TO THE EXIT. A POLICEMAN STRETCHES AND WEARILY SITS ON A BOX OR CRATE AS A UNIFORMED CONDUCTOR AWAITS A TRAIN. A SUBWAY CAR ARRIVES ON THE LEFT SIDE OF THE PLATFORM AND THE CONDUCTOR OPENS THE DOOR. A WELL-DRESSED MAN WITH A CIGAR IN HIS TEETH EXITS WITH HIS ARMS AROUND TWO WOMEN DRESSED IN LONG SKIRTS AND JACKETS GLOVES AND FANCY HATS. THE TRIO LAUGH AND STUMBLE ON THE PLATFORM AS IF HAVING A HILARIOUS TIME GETTING THE ATTENTION OF THE POLICEMAN WHO ATTEMPTS TO STOP THEIR BAWDY BEHAVIOR. ANOTHER TRAIN ARRIVES ON THE RIGHT TRACK. A MAN HEADING FOR THAT CAR IN A TWEED SUIT AND BOWLER IS BRIEFLY STOPPED BY THE MERRY TRIO AND JOINS THEM IN A LAUGH. AS THIS PASSENGER BOARDS THE TRAIN THE POLICEMAN AND CONDUCTOR DISCUSS THE TROUBLEMAKERS LEFT ON THE PLATFORM. ONE OF THE WOMEN CAUSES A SENSATION BY RAISING HER SKIRT AND REVEALING STRIPED STOCKINGS AS HER MALE COMPANION BENDS TO TIE HER BOOTLACE WITH THE OTHER MALE TRAVELER OGLING HER OUT THE SUBWAY CAR WINDOW. CONT. SEEING THIS INAPPROPRIATE DISPLAY OF LEG THE POLICEMAN PULLS UP THE GENT AND FORCES HIM AND THE WOMEN ON BOARD THE CAR. THE BELEAGURED OFFICER THEN SPIES A WOMAN'S STOCKINGED LEGS HANGING OUT A WINDOW AND REBOARDS THE TRAIN. THE POLICEMAN BOTH WOMEN AND BOTH MEN EXIT THE SUBWAY CAR AND ARGUE MADLY ON THE PLATFORM WITH THE MAN IN THE TWEED SUIT WAVING A PAIR OF ARTIFICIAL FEMALE LEGS THAT WERE APPARENTLY DISPLAYED IN THE WINDOW INSTEAD OF THE REAL THING 01:40:59 - ENDS 01:41:08 - A WAKE IN HELL'S KITCHEN / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1902 IRISH ETHNIC COMEDY TAKES PLACE ON A RATHER PLAIN ROOM SET WITH A SINGLE RELIGIOUS PICTURE AND A COAT HANGING FROM THE PLAIN WHITE WALLS. AN OPEN COFFIN SITS IN THE CENTER OF THE ROOM WITH ITS LID LEANING AGAINST THE BACK WALL. AN OLDER GREY-HAIRED WOMAN--PRESUMABLY THE WIDOW--STANDS HOLDING A BUNCH OF FLOWERS TO THE LEFT OF THE COFFIN WAILING AND WIPING AWAY HER TEARS WITH HER APRON. ON THE OTHER SIDE OF THE COFFIN SIT TWO MALE MOURNERS IN THREE-PIECE SUITS DRINKING BEER. AS THE TWO MEN TALK AND LIGHT A PIPE AND THE WOMAN TURNS AWAY IN HER GRIEF THE OCCUPANT OF THE COFFIN--AN OLDER BALDING MAN--SITS UP AND LOOKS AROUND. HE SPIES A LARGE MUG OF BEER TO THE SIDE PICKS IT UP DRINKS ALL OF THE ALE AND LIES BACK DOWN. WHEN THE WOMAN PLACES HER FLOWERS IN THE COFFIN SHE NOTICES THE EMPTY MUG AND QUESTIONS THE TWO MOURNERS. THE THREE ENGAGE IN A HEATED ARGUMENT DURING WHICH THE CORPSE THROWS THE FLOWERS OUT OF THE COFFIN. SEEING THIS THE WOMAN FALLS IN A FAINT. IN THEIR HURRY TO GET AWAY THE TWO MEN KNOCK OVER THE COFFIN SPILLING THE SUPPOSED DECEASED ON TOP OF THE WOMAN. FROM BIOGRAPH PICTURE CATALOGUE NOV. 1902 [MI] P. 39 30 FEET. THIS SCENE IS LAID IN THE PARLOR OF A NEW YORK TENEMENT. TWO WATCHERS AT THE WAKE ARE SMOKING AND DRINKING WHILE THE WIDOW IS WEEPING OVER THE COFFIN. THE ATTENTION OF THE THREE IS ATTRACTED FOR AN INSTANT AND THE SUPPOSED CORPSE RISES UP DRINKS ALL THE BEER IN THE PITCHER WHICH IS STANDING ON A TABLE NEARBY AND LIES DOWN IN THE COFFIN AGAIN. THE MOURNERS RETURN AND SEEING THAT THE BEER IS GONE ENGAGE IN A CONTROVERSY OVER IT. DURING THE SCRAP THE CORPSE JUMPS OUT OF THE COFFIN AND TAKES PART IN THE MELEE 01:41:37 - ENDS 01:41:40 - AMETA / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1903 . TWO LARGE SQUARES OF WHITE FABRIC COMPLETELY COVER A WOMAN STANDING ON A STAGE WITH A PANELED WALL AS A BACKDROP. THE FABRIC IS SUPPORTED IN FRONT AND BACK OF HER BY SOME SORT OF FLEXIBLE POLES ALONG THE TOP EDGE. THE WOMAN BENDS THESE RODS AND PEAKS OUT FROM THE RESULTING HOLE WITH HER HEAD AND NECK VISIBLE. SHE THEN PERFORMS WHAT APPEARS TO BE A VARIATION ON A SKIRT DANCE WITH THE FABRIC ACTING AS A TYPE OF VOLUMINOUS COSTUME; SHE IS ACTUALLY WEARING A FULL-LENGTH DECORATED DRESS. HOLDING THE POLES IN EITHER HAND SHE TWIRLS THE FABRIC ABOUT HER IN BOTH A FRONT-TO-BACK AND SIDE-TO-SIDE MOTION. SHE CLOSES BY TWIRLING HERSELF SO THAT THE FABRIC FORMS AN UPWARD-MOVING SPIRAL COMPLETELY COVERING HER UPPER BODY. 01:42:07 01:42:15 - BETSY ROSS DANCE / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1903 OPENS ON A BARE STAGE WITH A PAINTED BACKDROP OF AN INTERIOR THEATER WALL AND PILLAR. FROM SCREEN RIGHT A WOMAN TWIRLS ONSTAGE AND PERFO MS AN ENTHUSIASTIC DANCE. IT APPEARS SHE IS A WOMAN DRESSED TO LOOK LIKE A LITTLE GIRL IN A SHORT RUFFLED DRESS AND SASH TIGHTS AND BALLET SLIPPERS WITH LONG DARK HAIR WORN IN CURLS. HER MOVEMENTS INCLUDE SOME WITH AN APPARENT BALLET INFLUENCE SUCH AS PIROUETTES AND WALKING ON POINTE. SHE ALSO PERFORMS VARIOUS FEET AND LEG MOVEMENTS LEG KICKS BOTH TO THE FRONT AND SIDE SPINS AND TWIRLS ALL THE WHILE FLOUNCING AND LIFTING HER SKIRT AND SMILING COQUETTISHLY. SHE ENDS BY THROWING A KISS TO THE CAMERA AS SHE TWIRLS OFFSTAGE. FROM R. SNYDER THE VOICE OF THE CITY 1989 THE BETSY ROSS DANCE FILMED IN 1903 SHOWS A YOUNG GIRL IN A FRILLY SKIRT CUT ABOVE THE KNEE. AS SHE DANCES SHE KICKS HER LEG SWINGS HER SKIRT CLIMBS UP ON POINTE LIFTS HER SKIRT AND TWIRLS AROUND. THE CAMERA CATCHES AN OCCASIONAL GLIMPSE OF A GARTER JUST ABOVE HER KNEE (P. 137). 01:43:44 - ENDS 01:43:51 - CAKE WALK / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1900 FIVE AFRICAN AMERICANS--THREE MEN AND TWO WOMEN--PERFORM A CAKEWALK A DANCE FEATURING FANCY STRUTTING THAT WAS NAMED AFTER THE PRIZE AWARDED IN THE ORIGINAL CONTESTS. THE DANCERS WEAR RATHER FORMAL ATTIRE WITH THE MEN IN DARK SUITS AND BLACK TIE AND THE WOMEN IN FULL-LENGTH HIGH-COLLARED DARK DRESSES; ONE WOMAN CARRIES A SMALL AMERICAN FLAG. AS THEY STEP IN PLACE AGAINST A LIGHT BACKGROUND THE CENTER MALE--HOLDING UP A TOP HAT AND TWIRLING A CANE--MOVES TOWARD THE CAMERA AND BRIEFLY PERFORMS SOME FANCY STEPS. AS HE MOVES BACK THE MAN AT THE LEFT END OF THE LINE DOES A QUICK TWIRLING STEP AND LINKS ARMS WITH HIS PARTNER. THE OTHER TWO DANCERS ALSO PAIR OFF AS THE CENTER MALE LEADS THEM IN A STRUTTING MOVEMENT AROUND THE STAGE. WHEN THEY RETURN TO THE ORIGINAL LINE ALL FIVE STEP TOWARDS THE CAMERA WITH THE CENTER MAN SLIGHTLY AHEAD OF THE OTHERS. THE FILM ENDS JUST AS THEY STOP THE CAKEWALK. AFRICAN AMERICAN VAUDEVILLE TROUPE PERFORMS CAKE WALK DANCE 1900 01:44:16 - ENDS 01:44:20 - CHARITY BALL / THOMAS A. EDISON INC. 1897 A MAN IN FORMAL DINNER CLOTHES AND A WOMAN IN A WHITE RUFFLED DRESS WITH A FLOWER CORSAGE AND WHITE SHOES EXECUTE VARIOUS DANCE STEPS DESIGNED AS EXHIBITION DANCING. THE SET IS BARE WITHOUT BACKDROPS OR PROPS. THE COUPLE'S FEET ARE NOT EVIDENT AT TIMES IN THE FRAME AND THE DANCE APPEARS TO HAVE BEEN SHOT IN RELATIVELY SLOW MOTION. 01:44:54 - ENDS 01:45:03 - COMEDY CAKE WALK / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1903 BLACK VAUDEVILLE 1903 FIVE AFRICAN AMERICANS--THREE MEN AND TWO WOMEN--PERFORM AN EXAGGERATED CAKEWALK IN FANCY EVENING CLOTHES. TWO OF THE MEN WEAR FORMAL BLACK TIE IN TUXEDOS WITH TAILS WHILE THE THIRD WEARS A GRAY TUX OF SHINY MATERIAL WITH AN EXTREMELY LONG OVERCOAT AND EXAGGERATED CUFFS. ALL HAVE MATCHING TOP HATS AND CANES. THE WOMEN WEAR HIGHLY DECORATED HATS AND TIGHT-FITTING FRILLY DRESSES OF ONLY MID-CALF LENGTH WITH ONE HAND ON THEIR HIP PULLING UP THAT SIDE OF THE SKIRT. TWO COUPLES STEP IN TIME AGAINST A WHITE BACKGROUND AS THE THIRD CENTER MAN PRANCES FORWARD AND EXECUTES A COMEDIC WOBBLY-KNEED STEP. HE THEN MOVES BACK TO LEAD THE OTHERS IN THE STRUTTING AROUND THE STAGE ALL THE TIME SPINNING AND PRANCING AMONG THEM. AS THE COUPLE TO STAGE LEFT JAUNT PAST THE CAMERA THE WOMAN PAUSES TO HITCH UP HER STOCKING. THE MAN IN THE GRAY SUIT ON THE RIGHT TWIRLS HIS CANE AND STRUTS TOWARD THE CAMERA WITH HIS PARTNER; THEY THEN PAUSE ON OPPOSITE SIDES OF THE FRAME. THE WOMAN KISSES A HANDKERCHIEF SHE IS HOLDING IN ONE HAND AND FLIRTATIOUSLY THROWS IT ON THE GROUND. AS THE MAN SMILES KNOWINGLY AND REACHES FOR IT HOWEVER THE WOMAN YANKS THE FABRIC BACK TO HER ON A STRING. BOTH LAUGH AND CONTINUE STRUTTING. ALL FIVE DANCERS THEN RETURN TO A LINE AND START A FANCY STEP TOWARDS THE CAMERA. FROM BIOGRAPH PICTURE CATALOGUE [MI] 28 FEET. AMUSING CAKE WALK OF THREE MEN AND TWO WOMEN (COLORED) IN COSTUME SHOWING THE USUAL ANTICS THAT OCCUR IN AFFAIRS OF THIS KIND THIS POSSIBLY COULD BE A GEORGEW WALKER & BURT WILLIAMS TROUPE ADA WALKER 01:45:20 - ENDS 01:45:42 - CRISSIE SHERIDAN / THOMAS A. EDISON INC . 1897 A WOMAN IN A WHITE GOWN PERFORMS A SKIRT DANCE USING HER ARMS TO PRODUCE CIRCLES AND OTHER PATTERNS WITHIN THE FOLDS OF HER COSTUME. HER LEGS AND FEET APPEAR TO BE BARE. EARLY VERSION OF FAN DANCE VAUDEVILLE / BURLESQUE DANCERS 1897 01:46:18 - ENDS 01:46:25 - DANCE FRANCHONETTI SISTERS / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1903 SISTER DANCING VAUDEVILLE THREE YOUNG WOMEN WITH DARK CURLY HAIR STAND ON A STAGE WITH A BLACK BACKGROUND AND PATTERNED CARPET OR TILE UNDERFOOT. THEY WEAR TIGHTS BALLET SHOES AND FRILLY DRESSES TO THE KNEE WITH MULTIPLE PETTICOATS AND RUFFLED DRAWERS. THEY BEGIN BY RAISING THEIR RIGHT LEGS UP BY THEIR HEADS AND THEN PERFORM A DANCE WITH A VARIETY OF KICKS AND LEG MOVEMENTS THEIR HANDS EITHER IN THE AIR OR PULLING UP THEIR SKIRTS. THE SISTERS ALSO GRAB THEIR RIGHT LEGS AGAIN AND HOP IN A CIRCLE THEN DO CARTWHEELS AND LAND ON THE FLOOR IN THE SPLITS. JUMPING BACK TO THEIR FEET THE WOMEN TWIRL IN CIRCLES AND AROUND EACH OTHER IN CIRCLES IN WHAT APPEARS TO BE A TYPE OF PIROUETTE WHILE HOLDING UP THEIR SKIRTS AND SHOWING THEIR BLOOMERS IN A MANNER SIMILAR TO THE CANCAN. FROM BIOGRAPH PICTURE CATALOGUE 22 FEET. THE FRENCH QUADRILLE DANCE BY A POPULAR TEAM OF VAUDEVILLE ARTISTS 01:46:49 - ENDS 01:46:54 - YOUNG AFRICAN AMERICAN BOY DANCES RAGTIME STYLE DANCE FOR CHEERING GROUP OF SPECTATORS CIRCA 1898 01:47:27 - ELLA LOLA A LA TRILBY / THOMAS A. EDISON INC. 1898 A YOUNG DARK-HAIRED WOMAN PERFORMS A DANCE INSPIRED BY GEORGE DU MAURIER'S CHARACTER TRILBY IN AN EARLY MODERN DANCE STYLE REMINISCENT OF ISADORA DUNCAN. SHE DANCES BAREFOOT WITHOUT STOCKINGS AND IS DRESSED IN A LONG FLOWING GOWN BOUND ACROSS THE BOSOM IN GRECIAN STYLE WITH INSIDE FRINGE AND A DRAPED CAPE HOOKED TO HER WRIST. SHE ALSO WEARS WHAT APPEARS TO BE A GARLAND HEADPIECE. HOLDING HER GOWN WITH ONE HAND THROUGHOUT THE DANCER PERFORMS A SERIES OF KICKS AND TURNS WITH LEG KICKS FRONT AND BACK ROCKING AND ROUND DE JAMBE. 01:48:05 - ENDS 01:48:11 - FOUGe8RE / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1899 OPENS ON A STAGE WITH A PAINTED BACKDROP OF WHAT APPEARS TO BE CLOUDS [K.R. NIVER SEES THE BACKGROUND AS ROLLING WAVES]. FROM THE LEFT OF THE FRAME ENTERS EUGENIE FOUGe8RE IN A STRUTTING TYPE OF LEG MOVEMENT SHOT IN PROFILE BUT WITH HER FACE TURNED TOWARD THE CAMERA. SHE WEARS A DRESS WITH A DARK LACE-PATTERNED LOW-CUT BODICE STRIPED SLEEVES AND A FRILLY WHITE SKIRT TO THE KNEES; MULTIPLE DARK PETTICOATS AND WHITE BLOOMERS TO THE KNEES; STOCKINGS; HEELED SHOES; AND AN TRI-CORNER HAT WITH A FEATHER. OTHER DANCE MOVEMENTS INCLUDE A BACKWARDS SHUFFLE STEP CLUTCHING HER BOSOM AND THEN CUPPING HER EAR AS IF LISTENING WITH A SKIPPING FOOT MOVEMENT AND A SIDEWAYS STEP ACROSS THE STAGE. FOR MOST OF THE DANCE SHE LIFTS HER SKIRT HIGH IN A MANNER SIMILAR TO A CANCAN. SHE CLOSES BY KNEELING IN A BRIEF CURTSY WITH HER HAND TUCKED AT HER CHIN AND THEN EXITS THE STAGE. FROM BIOGRAPH PICTURE CATALOGUE 36 FEET. THE FAMOUS PARISIAN CHANTUESE IN THE RAG-TIME CAKE-WALK HELLO MA BABY WITH WHICH SHE MADE SUCH A SENSATION AT THE NEW YORK THEATRE. 01:48:49 - ENDS 01:48:55 - FOXY GRANDPA AND POLLY IN A LITTLE HILARITY / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1902 OPENS ON A STAGE WITH A STONE FENCE AND A PAINTED BACKDROP OF A FOREST OR GARDEN. HUSBAND AND WIFE TEAM OF HART AND DEMAR AS CARTOON CHARACTERS FOXY GRANDPA AND POLLY ENTER HAND-IN-HAND FROM BEHIND THE FENCE. GRANDPA HAS A BALD PATE WITH BUSHY WHITE HAIR ON THE SIDES A BIG BULBOUS NOSE AND A POTBELLY DRESSED IN A LIGHT-COLORED SUIT WITH A VEST AND SPATS AND CARRYING A BOWLER IN HIS LEFT HAND. POLLY WEARS A RUFFLED LIGHT-COLORED DRESS WITH DARK TRIM THAT GOES TO HER ANKLES A BEDECKED BONNET WHITE STOCKINGS HEELED SHOES AND A CHOKER AROUND HER NECK. BOTH ARE SMILING BROADLY AS THEY REACH CENTER STAGE AND BEGIN THEIR VAUDEVILLE-STYLE DANCE WITH TAP SOFT SHOE AND OTHER SYNCHRONIZED LEG MOVEMENTS AND TWIRLS IN WHAT APPEARS TO BE A RAGTIME RHYTHM . GREAT EXAMPLE OF A CIRCA 1900 VAUDEVILLE TWO ACT JOSEPH J. HART (FOXY GRANDPA) CARRIE DEMAR (POLLY). 01:49:27 - ENDS 01:49:46 - A NYMPH OF THE WAVES / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1903 SUPERIMPOSITION OF A WOMAN DANCING OVER FOOTAGE OF CRASHING WAVES FROM THE RAPIDS OF NIAGARA FALLS. THE WOMAN WEARS A FRILLY PERHAPS FEATHER-TRIMMED WHITE DRESS WITH A LOW-CUT BODICE A MATCHING FEATHERED HAT WHITE STOCKINGS AND WHITE BALLET SLIPPERS. SHE HOLDS UP HER SKIRT THROUGH THE ENTIRE DANCE REVEALING HER ANKLES AND LOWER LEGS AS WELL AS A FLASH OF A GARTER ABOVE THE KNEE ON HER LEFT LEG. HER MOVEMENTS APPEAR TO BE A MIXTURE OF BALLET AND VARIETY-STYLE DANCING SUCH AS A CANCAN INCLUDING SPINS AND TOESTEPS ON POINTE. SHE CLOSES WITH A FLOURISH OF HER SKIRT AS SHE EXECUTES A CURTSY ON POINTE WITH ONE FOOT. PERFORMER CATHRINA BARTHO. FROM BIOGRAPH PICTURE CATALOGUE 25 FEET. THIS IS A DOUBLE-PRINTING PICTURE COMBINING A VIEW OF MLLE. CATHRINA BARTHO IN HER CELEBRATED SPEEDWAY DANCE WITH ONE OF THE WHIRLPOOL RAPIDS OF NIAGARA FALLS THE RESULTING EFFECT BEING THAT THE DANCER APPEARS TO BE GLIDING OVER THE SURFACE OF THE RUSHING WATERS.. 01:50:09 - ENDS 01:50:15 - A TOUGH DANCE / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1902 APACHE DANCE FROM EITHER SIDE OF A WHITE APPARENTLY OUTDOORS SETTING ENTER A MAN AND WOMAN BOTH WEARING RAGGED STREET CLOTHES AND CAPS. AS THEY APPROACH CENTER STAGE THE MAN GRABS THE WOMAN'S ARM AND PULLS HER TO HIM THEN SLAPS HER. STILL HOLDING HER ARM THE MAN AND HIS PARTNER COCKILY STRUT TOWARDS THE CAMERA. THE MAN GRABS THE WOMAN IN A CROUCHED BEAR-HUG TYPE OF HOLD AND THEY PERFORM A ROUGH LITTLE DANCE THAT ALMOST SEEMS A PARODY OF A WALTZ. IN A JERKY TYPE OF JITTERBUG THE MAN TWIRLS THE WOMAN OUT OF HIS HOLD AND BACK AGAIN A MOVEMENT WHICH IS REPEATED OFTEN WITHIN THEIR SPINNING DANCE. THEY FINALLY FALL TO THE GROUND STILL CLUTCHING EACH OTHER AND ROLL AROUND. FROM K.R. NIVER EARLY MOTION PICTURES 1985 TWO PEOPLE IMITATE THE CELEBRATED DANCE OF THE FRENCH APACHE. AS THE FILM BEGINS A MAN DRESSED IN ROUGH CLOTHING APPROACHES A WOMAN ALSO DRESSED IN TATTERED GARMENTS WHO IS STANDING NEAR THE CENTER OF CAMERA POSITION. THEY BEGIN TO ACCENTUATE THEIR SHOULDER MOVEMENTS AND AT THE END OF THE FILM ARE HITTING ONE ANOTHER AND ROLLING ABOUT ON THE FLOOR. THE PARTICIPANTS WERE KID FOLEY AND SAILOR LIL WHO CLAIMED TO BE THE CHAMPION PERFORMERS OF THIS POPULAR BOWERY DANCE. 01:50:59 - ENDS 01:51:08 - DUEL SCENE BY RIGHT OF SWORD / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1904 CREATED/PUBLISHED UNITED STATES AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1904 SUMMARY OPENS ON A STAGE WITH A PAINTED BACKDROP OF A LAKE SURROUNDED BY FOREST. A BEARDED MAN WRAPPED IN A DARK CLOAK AND WEARING A DARK FUR SHAKO--APPARENTLY THE NOVEL'S CHARACTER OF MAJOR DEVINSKY--STANDS STAGE LEFT. BEHIND HIM A GROUP OF THREE SOLDIERS MOVE ABOUT IMPATIENTLY WATCHING FOR SOMEONE OFFSTAGE. ACCORDING TO MARCHMONT'S STORY THE MEN SHOULD BE LATE 19TH CENTURY RUSSIAN SOLDIERS BUT IN THE FILM THEY WEAR MILITARY UNIFORMS THAT SEEM FRENCH IN DESIGN INSTEAD WITH LIGHT-COLORED BREECHES SPORTING EMBROIDERED DESIGNS DARK BUTTONED JACKETS WITH ANOTHER COAT SLUNG OVER ONE SHOULDER DARK FUR SHAKOS WITH PLUMES AND SHINY BLACK BOOTS TO THE KNEE. FROM STAGE RIGHT ENTERS THE STORY'S MAIN CHARACTER OF HAMYLTON TREGETHNER MASQUERADING AS INFANTRYMAN ALEXIS PETROVITCH IN A SIMILAR UNIFORM AND CLOAK. THE DUELERS REMOVE THEIR CLOAKS AND JACKETS ROLL UP THEIR SHIRTSLEEVES AND ACCEPT THEIR SWORDS FROM THE SOLDIER ACTING AS SECOND. THE PORTION OF THE BOOK WHERE TREGETHNER TRIES TO PERSUADE DEVINSKY TO ABANDON THE DUEL IS PRESENTED ON FILM AS A PANTOMIMED DISCUSSION THEN THE TWO OPPONENTS FACE EACH OTHER AND THE DUEL IS STARTED. DURING THE SWORDFIGHT TREGETHNER IS BROUGHT TO HIS KNEES AT ONE POINT BUT PREVAILS AND ENDS THE DUEL BY CUTTING DEVINSKY ON THE ARM. AS THE LOSER STORMS OFF THE STAGE ONE OF THE SOLDIERS SALUTES THE VICTOR. RALPH STUART (HAMYLTON TREGETHNER/ALEXIS PETROVITCH). 01:52:54 - ENDS 01:53:03 - A BALLROOM TRAGEDY / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1905 OPENS ON A SET OF A SITTING ROOM APPARENTLY OFF A BALLROOM WHERE DANCERS OCCASIONALLY CAN BE GLIMPSED THROUGH A CURTAINED ENTRANCE STAGE RIGHT. NEAR THE ENTRANCE A YOUNG COUPLE IN FORMAL ATTIRE TALK--PERHAPS ANGRILY--AS ANOTHER COUPLE EXIT THE DANCING. THE SECOND MAN INTRODUCES HIS COMPANION--A STRIKING WOMAN IN A RISQUe9 WHITE GOWN WITH A LOW-CUT BODICE AND BARE SHOULDERS--TO THE OTHER MAN AND THEN REENTERS THE DANCE HALL. THE YOUNG MAN APPARENTLY EXCUES HIS FEMALE COMPANION WHO IS PLAINER IN COMPARISON WITH THE NEW ARRIVAL AND INVITES THE WOMAN IN WHITE TO JOIN HIM ON A SETTEE. THE TWO TALK CLOSELY AND AFFECTIONATELY AS THE SPURNED WOMAN RETURNS WITH A KNIFE IN HER HAND AND HIDES IN THE CURTAIN BEHIND THE SITTING COUPLE. WHEN THE TWO KISS SHE REACHES OUT AND STABS HER RIVAL IN THE BACK. THE INJURED WOMAN JUMPS UP IN PAIN AND THEN COLLAPSES ON THE FLOOR APPARENTLY DEAD. THE MURDERESS RUNS AWAY AS THE YOUNG MAN RUSHES TO HOLD THE FALLEN WOMAN. FROM BIOGRAPH BULLETIN NO. 55 THE SCENE SHOWS THE HALL OF A PRIVATE RESIDENCE WITH THE DANCE PROGRESSING IN THE DISTANT PARLORS. A YOUNG COUPLE ARE SEEN QUARRELLING AND THE YOUNG MAN DISCARDS HIS FIANCEE FOR ANOTHER FAIR CHARMER. THE REJECTED GIRL GOES AWAY IN A RAGE BUT RETURNS JUST IN TIME TO WITNESS A SCENE BETWEEN HER LOVER AND HER RIVAL. INFURIATED AT THE SIGHT SHE DRAWS A STILETTO FROM HER GOWN AND STABS THE UNFORTUNATE GIRL WHO HAS USURPED HER PLACE. 52 FEET. CLASS B. 01:53:54 - ENDS
- Collection: Historic Films
- Producer:Historic Films
- Transmission Date:01/01/1948
- Rights:On request
- Decade: 1940s
- File Name: V-8600