A Frontier Flirtation - 1903

American movie. Opens on a stage with a painted backdrop of a forest or garden. On a park bench center stage sits a well-dressed woman with a dark veil obscuring her face, holding an open parasol overhead and a closed fan in her lap. A mustached cowboy enters, dressed in fringed chaps, boots, Western hat, neck kerchief, and pistol belt. When he spies the woman, he primps for a moment, arranging his mustache, and then approaches her. The cowboy takes off his hat and bows, then leans into the bench to talk with her. She rebuffs his numerous attempts to take her hand, but finally allows him to lift her veil. The cowboy reacts in horror as an animal face, perhaps a monkey's, is revealed, and then runs off the stage. A stylish gentleman in a suit with a straw boater and cane enters and sits familiarly beside the woman. He reaches over and removes what proves to be a mask as he and the now-beautiful woman have a good laugh. At one point, the gentleman gives her a kiss on the cheek.

Skating On Lake, Central Park - 1902

American Mutoscope and Biograph Company
Camera: Frederick S. Armitage
An interesting view of Central Park before there was a skyline of buildings. All along the length of the park on both sides and to the north, with the exception of the Dakota Apartments located at 72nd Street and Central Park West, It was virtually impossible to see anything other than sky above the trees. In the nineteenth century when people went to visit the park, they really were leaving the ''city.'' By 1900, except for the townhouses and tenements all along the length of the eastern side and along Central Park West, buildings taller than four to six stories were located near Herald Square and further south.
On 74th Street on the west side of the park the apartment building known as the "Dakotas" (built 1880-1884) acquired the name because it was so far up the island where there wasn't much else around, that people would say "It might as well be the Dakota Territories." It would be a few years beginning in 1904 with the opening and expansion of the subway that the boom in building would take off in the city's outer boroughs (The Bronx and Queens). Speculators began constructing entire city tenement blocks in earnest anticipation of arriving subway stations and a growing population.
Recommended reading:
The Park and the People / A History of Central Park
- Roy Rosenzweig, Elizabeth Blackmar
(This is the best history available)
Central Park - John S. Berman
(A good collection of photos from the Museum of the City of New York)

Kiss Me - 1904

American movie. This short film is from The American Mutoscope & Biograph Company.

Old Maid Having Her Picture Taken - 1901

American movie. An old maid is walking about the studio while the photographer is getting his camera ready. She first looks at a hanger, which immediately falls from the wall, not being able to stand her gaze. Then she looks at the clock, and her face causes it to fall to the floor with a crash. She then walks over to the mirror, which suddenly cracks in several places. The photographer then poses her. Just as he is to press the button the camera explodes with a great puff of smoke, completely destroying the camera and demolishing the studio. The picture finishes up with the old maid tipping back in her chair and losing her balance, displaying a large quantity of fancy lace goods. A sure winner.

Conscience de Magistrat (1908, France)

Charles Pathé
With his brother Émile, he founded Pathé Frères (Pathé Brothers, 1896) in Paris, a company that manufactured and sold phonographs and phonograph cylinders. The company placed the Kinetoscope, Thomas A. Edisons newly invented viewing device, in theatres throughout France. Using the camera developed by Louis and Auguste Lumière, Pathé Frères filmed numerous short subjects, the majority of which are sensational criminal adventures, melodramatic love stories, and comic anecdotes. In 1909 Pathé produced his first long film, Les Misérables, a four-reel screen version of the novel by Victor Hugo. That same year he originated the Pathé Gazette in France (U.S.: 1910; U.K.: 1911), which was an internationally popular newsreel until 1956. In 1914 Pathé Frères released from its studios in the United States the first episodes of The Perils of Pauline, one of the earliest and best remembered screen serials. The company also began publishing the screen magazine Pathé Pictorial.

Little Toys - 1933

A brief scene from the rare Chinese silent Little Toys (1933), starring the beautiful Ruan Ling-yu, the "Chinese Garbo", one of China's leading actresses who committed suicide at age 24.
In the film Ruan plays a toymaker who supports her family and community with her craft of toymaking. War and strife and loss becomes her lot in life but the courageous character of "Sister Ye" carries on no matter what befalls her.

The House in Kolomna - (1913, Russia)

This silent film from 1913 features the incredible Russian actor Ivan Mosjoukine (Иван Мозжухин) in a story based on Alexander Pushkin's comic poem. The plot is simple: a young girl is in love with a handsome guardsman but not allowed to be with him, so she persuades him to dress as a kitchen-maid & work in her mother's house. See what happens next.Directed by Peter Tchardynin (Петр Чардынин)
This is simply a delightful adaptation of Pushkin's verse story, "The House in Kolomna", with solid craftsmanship by Pyotr Chardynin and some fine performances from the cast. The cast and their director seem to get themselves thoroughly into the spirit of the story, and it is both interesting and entertaining to watch.
The story is one of Pushkin's lightest works, a fluffy and fun household tale, yet with his usual keen eye for human psychology and behavior. It starts with pretty young Parasha and her officer boyfriend trying to trick Parasha's mother into accepting the boyfriend as the new cook, and then leads into some very amusing situations from there. The humor is a nice combination of the absurd and the subtle, and this adaptation does an impressive job of communicating almost all of it.
Ivan Mozzhukhin seems to be having a great time in his role as the officer, and his performance is very entertaining and often rather resourceful. Sofya Goslavskaya is charming and engaging as Parasha, and she also gives a thoughtful performance that contrasts nicely with Mozzhukhin's boisterous style, making them a good working combination. Praskovya Maksimova, as the mother, has to play the straight part for most of the movie, but she also makes the most of her chances.

I Graduated, But ... (1929, Japan)

Only a few minutes survive of this essentially lost silent film of famed Japanese director Yasujiro Ozu called I Graduated, But ... From 1929. Consider this video like watching a longer than usual trailer for the film. :)
It's about a recent college graduate who can't find a job because he considers an entry level office job beneath him. This forces the wife to have to work to support them, which makes the husband jealous and angry. Finally he is humbled and goes back to the same business to ask for work again, he is hired, and the marriage is restored.
It's funny to see in the couple's apartment a poster for Harold Lloyd's Speedy, an American silent film that came out the year before! It shows you that the Japanese were well aware of American films, and admired them.

Ceylon in 1930, Honeymooners holiday, Sri Lanka

Amateur home movie from 1930. A couple of British honeymooners in the middle of an 18-month trip round world reach Ceylon.
Colombo, Ceylon, Sri Lanka, India. Asia.
The Galle Face and hotel. Beach scene, deserted. Sunday morning in swimming pool. Playing, diving, swimming. Calling on the Pitkins and visiting Mount Lauinia being pulled in rickshaw. On beach. Shaking hands with dog. Drive along the sea road with the Roberts in horse-drawn cart and car at Bentota. Fishermen on beach hauling in nets (?). A glimpse of the disastrous floods, May 1930 flooded villages. Short of 750 mile Tour of Ceylon. A jungle road with car. Kurunesala: Singhalese types. Carrying on head. Villages. Buffalo at work. Paddy field five teams of oxen yoked. Potter's Clay at Mihintale. Interesting spinning of the wheel Trincomalee. Palm Trees. Fisherman's boats on beach.

Commissioner Higgins Visits Ahmedabad Girls' School (1904, United Kingdom)

A group of girls of different ages, wearing uniform dresses and saris, wave bunches of flowers around in a rhythmic exercise, directed by a woman teacher (18). A small group of European men and women visitors walk quickly past the girls and out of shot (21). The girls continue to wave the flowers (66). The group of Europeans walk back, waving at the camera and the girls (71). Blank (72). The visitors and their hosts on a verandah of a large building; the girls, led by their teacher, emerge in a line waving their flowers and perform an intricate dance movement. They finish in a close group to one side; the spectators wave and cheer and the girls wave their flowers for the camera (138ft).
The Salvation Army had first exhibited films in February 1897, and almost immediately announced plans to produce films of its own. This did not happen in Britain until 1903, with the establishment of the Salvation Army Cinematograph Department, which was set up as ‘a novel method of influencing the unsaved’ (Wiggins, 1964, 394). Indeed, over the next few years, the Army increasingly looked to exploit film and organise regular film screenings as a way to attract, particularly working-class, audiences to its meetings (Rapp, 1996, 163-4).
By 1906, the Cinematograph Department had produced 74 films. The vast majority of these (53 films) covered the Army’s work in Britain – for example Our Slummers at Work – but there were also eight films produced in Palestine during the founder General Booth’s tour, and thirteen from India. Historian Dean Rapp in analysing the surviving films, notes the ‘elementary’ nature of the productions – in their ‘minimal use’ of editing, titles and emerging camera techniques – but also considers how the Army sought to define itself through its on-screen appearances. He emphasises the prominent role of General Booth as a patriarchal figure within many of the films and argued that the films ‘portray the Army as it proudly viewed itself: hierarchically saluting, drilling, parading, inspecting troops and paying homage to its leaders, while also energetically preaching outdoors, distributing literature and playing music’. The Indian films ‘portray the worldwide scope of the Army’s evangelism’ and were probably, Rapp argues, ‘the first British missionary films produced by a Christian organization’ (Rapp, 1996, 171-173).
The films served to define the Salvation Army and, in exploiting a popular interest in film, also attracted audiences to the meetings. During 1904 a two-hour programme put together by the Cinematograph Department was used for a ‘cinematograph tour’, accompanied by speakers, across Salvationist Halls in England and Scotland. ‘Cinematograph displays’ were also advertised at the Electric Theatre during the Salvation Army’s International Congress in June 1904, while in September 1905 a ‘Cinematograph review’ of General Booth’s tour was held at the Royal Albert Hall (War Cry, 2 September 1905, 16). After 1908, the group’s engagement with cinema shifted. At this point the Army dismantled its Cinematograph Department, as it now joined a nationwide campaign against film immorality, cinema as a social space and film exhibition on Sundays (Rapp, 1996, 179). While the group’s engagement with cinema changed entirely, the function of this engagement did not. The group still sought to exploit a popular interest in cinema, to generate publicity, and define itself as a prominent moral campaigner, not now through film exhibition, but through film discourse.
The Salvation Army had first arrived in India in September 1882 – with a party of just four officers – but by 1904, War Cry was writing of ‘an army of about 50,000 soldiers and adherents’ (War Cry, 28 May 1904, 3). Colonel Bates, auditor-in-general, returned from India after a six-month visit in April 1904 and wrote about his experiences in ‘inspecting almost every phase of our work in the great Indian Empire’ (War Cry, 16 April 1904, 9). He noted the work carried out for ex-prisoners, the establishment of three rescue homes for women and the support given to children, orphaned and destitute as a result of famine. The Army’s broader work in education was also noted. A further report claimed that ‘so great is the lack of schools amongst the native populations of India that the Salvation Army has, in addition to its ordinary Spiritual and Social work, organised an [sic.] Educational work, which already numbers 415 day schools and eleven industrial boarding schools. These are attended by over 11,000 children’ (Social Gazette, 14 May 1904, 1). War Cry further noted that by the summer of 1904 there were 2,080 corps and outposts in India and Ceylon (War Cry, Summer Number 1904, 11).
Finally, this film – and the others depicting Salvation Army work in India – are part of a broader promotion and emphasis on the Army’s work in India during 1904. In March, Major Ewens gave an address on India and Ceylon at Eastleigh, which was accompanied by ‘seventy lantern views’, while in April, ‘interesting scenes of Indian life’ were shown at Fulham (War Cry, 5 March 1904, 6, 23 April 2904, 7). Major Byers ‘in Indian dress, talked on life and work in India’ at Peterborough in May, and Colonel Jeya Kodi ‘related thrilling incidents of work in India’ to an audience at Seaham Harbour (War Cry, 7 May 1904, 7, 14 May 1904, 7). Most notably, in June 1904, Commissioner Higgins, the army’s resident secretary for India, arrived in England as one of 47 representatives from India – including boys and girls from the schools – in order to take part at the Army’s International Congress. Before the Congress, the contingent spoke at Southend-on-Sea, where, according to War Cry, ‘the Commissioner’s Salvation talk, together with the Indians’ bright costumes, quaint music, thrilling testimonies and passionate earnestness, combined to make Southend, although on the banks of the Thames, as glowing and delightful as a scene on the Ganges’ (War Cry, 2 July 1904, 12). The tour continued over the next three months, with the party divided into two contingents, travelling extensively, in particular, across Scotland, and Yorkshire. By September, when they attended a meeting in Luton War Cry reported that ‘inside meetings to date have been attended by nearly fifty thousand people, and the outside crowds everywhere have been enormous’ (War Cry, 17 September 1904, 7).
One of thirteen films produced in India between 1903 and 1906, Commissioner Higgins Visits Ahmedabad Girls School, indicates both the ways in which the Salvation Army looked used film to define itself – here as moral educators – and to promote its work as an international missionary organisation. In two shots, the film highlights the pageantry and almost military organisation of the Indian children, firstly presenting, as Rapp termed it, a ‘pom-pom drill’ and then marching, still with pom-poms, around in a circle. This certainly fits with an imperial ideal or organising and militarising foreign subjects.
The visit of Commissioner Higgins and his accomplices may be almost comical in its brevity – he twice walks across the screen, acknowledging the camera, but not the performing children – and the fixed camera’s initial focus on the girls’ performance, rather than the officials who work in and out of shot, seemingly highlights an emphasis on displaying the Indians. The appearance of Higgins and the officials – and the performance staged on their behalf – does though serve to indicate to British audiences the hierarchy of British leadership and the local celebration of British officials. Certainly, the film mirrors Army reports of the time in its stress on the apparent enthusiasm and gratitude of the local people for the work of the Army. A report in War Cry in 1904 described a scene in India, similar to that depicted here. ‘The Salvation Army Officer’s visit is eagerly looked forward to by the villagers’, it explained. ‘The day school is decorated, the bandsmen play proudly and all the villagers stop work to look at the Muktifauj. Tom-Toms are beating, women run to the doors of their houses and children from the Army School sing as they march along “Rajah, rajah alla” (Jesus shall reign)’ (War Cry, 28 May 1904, 3). The film thus serves as part of a far broader discourse on the role and work of the British officials in India, with talks, lantern shows, and in particular, the extensive summer tour of Indian representatives, all bringing both the display and exoticism of India and the overseas missionary work of the Army to British audiences.

10th U.S. Infantry, 2nd Battalion Leaving Cars - 1898

American movie. "Hurrah here they come! Hot, dusty, grim and determined! Real soldiers, every inch of them! No gold lace and chalked belts and shoulder straps, but fully equipped in full marching order; blankets, guns, knapsacks and canteens. Train in background. Crowds of curious bystanders; comical looking 'dude' with a sun-umbrella strolls languidly in the foreground, and you almost hear that 'yaller dog' bark. Small boys in abundance. The column marches in fours and passes through the front of the picture. More small boys all colors. The picture is excellent in outline and full of vigorous life. Written by Edison Catalog (1898)

Love and War - 1899

American movie. "An illustrated song telling the story of a hero who leaves for war as a private, is promoted to the rank of captain for bravery in service, meets the girl of his choice, who is a Red Cross nurse on the field, and finally returns home triumphantly as an officer to the father and mother to whom he bade good-by as a private. The film presents this beautiful song picture in six scenes, each of which has a separate song, making the entire series a complete and effective novelty."
This dramatic feature is ambitious for something made in the 19th century, and it is quite creditable for its era. It also has some thoughtful moments, and so it still has something to say. It contains enough ideas for a much longer feature, even a full-length feature, and it packs them into a running time of just about two minutes with efficiency and decent craftsmanship.
The story starts with a young man leaving his home and his loved ones to fight in the war (apparently the still quite recent war with Spain), and it then follows both the soldier in the field and his family back at home as the war proceeds. It's the kind of story that would become fairly commonplace in cinema some years afterwards, but it is an involved story for a movie of its year.
Each scene is significant in showing the ways that the war created a painful tension between the young man's family life and his perceived responsibility to his country. The opening scene of him saying good-bye is easily one of the better such scenes made before 1905 or so.
In 1899, they just did not make movies much longer than this, and so the film-makers must have thought out carefully how to pack the most meaningful material into a short running time. It could easily have been expanded into a worthwhile movie at several times its length, yet it would still be a fair number of years before that would become commonplace.
All of that makes this little film quite worthwhile for its day. It requires extra attentiveness to watch, due to physical deterioration of the film, but it is worth the effort.

Burial of Maine Victims - 1898

American movies. "Taken at Key West, Fla., March 27, 1898. First comes a detachment of sailors and marines in the left foreground, while at the right is seen a crowd of small colored boys, which precedes any public procession in the South. Then follow the nine hearses, each coffin draped with THE FLAG. At the side of each wagon walk the pall bearers, surviving comrades, their heads bowed in attitudes of grief. Next come naval officers and marines, and lastly a procession of carriages, followed by a large crowd on foot. The scene is reproduced as it actually occurred. The figures are life size and well in the foreground." Written by Edison Catalog

Wreck of the Battleship Maine - 1898

American movie. "Taken in Havana Harbor from a moving launch, and shows the wreck of the 'Maine' surrounded by wrecking boats and other vessels. The warped and twisted remains show how thoroughly this immense mass of iron and steel was blown out of all semblance of a vessel. The background of this picture is formed by the shores of Havana Harbor, and as the yacht moves around, a panoramic view of the shores adds an interesting feature." Written by Edison Catalog (1898)

U.S. Infantry supported by Rough Riders at El Caney - 1899

American movie. "Up the road comes a detachment of infantry, firing, advancing, kneeling and firing, again and again. The advance of the foot soldiers is followed by a troop of Rough Riders, riding like demons, yelling and firing revolvers as they pass out of sight. Other troops follow in quick succession, pressing on to front." Written by Edison Catalog

Skirmish of Rough Riders - 1899

American movie. "Shielded by a thick bit of timber at a turn of the road stands a company of mounted men, awaiting the order to advance. In the foreground, left by the flotsam of battle, is a dead horse from the shelter of which two marksmen are picking off the enemy. Suddenly comes the command, 'Forward,' and the riders dash up the road, out of sight, leaving behind them a great cloud of dust and smoke. A detachment of infantry covers the advance, and volley repeatedly as they press forward." Written by Edison Catalog

Shooting Captured Insurgents - 1898

American movie. "A file of Spanish soldiers line up the Cubans against a blank wall and fire a volley. The flash of rifles and drifting smoke make a very striking picture." - from the Edison Catalog.
A contingent of soldiers marches forward with a group of prisoners. The officer in charge directs that the prisoners be lined up against a wall, to be executed. He gestures with his sword as the soldiers take aim, and then prepares to give the order to shoot.
Of course, it would've been dangerous and extremely difficult to film actual events during the Spanish-American War. So the Edison Manufacturing Company did the next best thing by re-enacting an event for this short.
Even though it wasn't "real", I can only imagine how disturbing it would have been back in 1898 to see people being lined up and killed. Due to its gritty, documentary-like feel, it is still somewhat unsettling to view even today. This short has been preserved by the Library of Congress and I viewed it as one of the unadvertised bonus shorts found in the DVD boxed set of "The Movies Begin - A Treasury of Early Cinema, 1894-1913".

Congress of Nations - 1900

American movie. A new and sensational film, which deals in a highly up-to-date way with the international situation. A magician steps upon the stage carrying a hoop covered with white paper. Then in quick succession the flags of Germany, Russia, Ireland, England and China are brought forth, and from each a soldier is produced corresponding with the flag of each nation. The magician adds a bit of comedy to the scene by producing a decidedly Hibernian policeman from the flag of Erin's Isle. The magician then waves his hand and the flags of all nations slowly dissolve and blend into one huge American flag. The American flag is then dissolved and the military representatives of the nations form a tableau over which is draped their respective flags.