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A Frontier Flirtation
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. ** The presence of the cowboy is our only indication that this is supposed to be set on the frontier. The women is not dressed as a frontier woman, nor is the second man and the backdrop looks more like a city park. ** 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. ** Sterotype of a cowboy appears in his clothes and manners ** 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.
Mr. Jack in the Dressing Room
Filmed Mar. 16, 1904, in the Biograph New York City studio. Opens on a stage set of the interior of a theatrical dressing room. Along a bar that serves as a dressing table sit three costumed young women--perhaps chorus girls or members of a burlesque troope--adjusting their hair and makeup in three mirrors hanging from the wall. Two of the women wear very short outfits that show their stockinged legs; the third woman is dressed in a ruffled dress to the knee. A portly, middle-aged man with muttonchop whiskers enters the room, dressed in evening clothes and top hat and carrying a cane. He hands the cane and hat to the delighted women and responds to them in a jovial, familiar manner. He calls in a uniformed boy with a tray of glasses and a bottle, then pours drinks for himself and all the ladies. They toast each other and drink, then the man begins to dance a jig. The women apparently decide to dress him as a woman, placing a tulle apron around his waist as he rolls up his pants legs. ** He is a willing participant in these antics. He is not being forced to put on this skirt. **As he continues his jig, a severe-looking woman in a dark dress, hat, and gloves enters. She reacts in shock at the sight of the dancing man in his skirt, then grabs him and hits him with the parasol she carries. As the young women watch and laugh, the older woman drags the embarrassed man from the room by his ear. ** It is unclear what the women is angry about. Is she upset that the man (her husband?) is weariing a skirt? Or that he has been drinking? Or that he is alone in a dressing room with three scantily clad women? This could be viewed as an example of turn of the century morality.**
The Serenaders
Filmed May 25, 1899, on the roof of the Biograph New York City studio. Opens on a stage set of a two-story brick building. Two street serenaders in rather shabby clothes stand outside the building, one playing a trombone and the other what appears to be a clarinet. A young woman appears in the upstairs window and looks down smiling on the two suitors. She soon favors and encourages the trombonist by throwing kisses and clutching her chest, while clearly rebuking the other. The rejected clarinetist angrily kicks the successful serenader in his rear, propelling the trombone player up to the woman's window in an effect that appears to be achieved through stop motion and a wire. The failed suitor howls in pain and hops around holding his foot, while the trombonist sits on the window sill in the arms of the woman and shakes off his competitor's attempts to pull him to the ground. ** TIme code chagnges in the middle of this clip. It goes from 02.02.44 to 00.02.45. **
Subub Surprises the Burglar
Filmed in Edison's New York City studio. Opens on a bedroom set, with a man in a white nightshirt asleep on a Murphy bed. The bedroom window is raised from the outside, and a man dressed in black clothes and cap enters, furtively looks around the room, and checks to see that the bed's occupant is asleep. The burglar then rummages through the clothes in a chest of drawers and, finding nothing of interest, turns to the homeowner's pants near the bed. As the burglar finds and pockets a wallet, Subub awakes, sees the burglar, and activates the bed so that it closes up into the wall. The underside of the Murphy bed appears to be metal, with what look to be six canon or gun holes. As the burglar turns and notices the folded bed, gunfire shoots from the bed's portholes. With the sixth and final shot, the burglar blows up and disappears in a cloud of smoke, through the use of stop-motion cinematography. An American flag is raised from the top of the curious weapon and the bed unfolds, with Subub gleefully clapping and waving his arms. ** He is overjoyed and very proud of himself that he was able to defeat the burglar. ** From Edison films catalog: Picture shows bedroom, and man asleep in bed. A burglar raises the window cautiously, climbs in, and proceeds to go through the man's clothes. The man awakes and pulls a lever, closing himself up in the folding bed, the bottom of which is iron-clad, with guns and portholes. The burglar is dumbfounded, and cannot move. Subbubs turns his battery loose, blowing the burglar to pieces. He then raises an American flag on a staff on top of the bed as a signal of victory. The bed opens up again and Subbubs goes to sleep. Length 65 feet. Class B. $7.80.
McKinley's Funeral in Canton, Ohio
On the day of the funeral of President William McKinley, scenes of his body being taken from the McKinley house to the church, and then taken from the church after funeral. (McKinley was shot by an assassin on the 6th of Sept, 1901.) Soldiers and sailors carry the casket out the front door and down the walk where President Roosevelt and Cabinet are standing in line on either side; Admirals of the Navy and Generals of the Army also present; all heads are uncovered. Everyone watches as the body is placed in the hearse. A few mounted troops of the Black Horse Cavalry pass by in FG. Pan left along street as procession is getting lined up; the house next door has a large portrait of McKinley on the front porch. The hearse starts slowly away w/ soldiers and sailors walking on either side. 01:18:24 Mourners incl the government and military leaders coming out of church after the funeral. The flag and flower covered casket is carried carefully down the church steps, borne on the shoulders of the sailors and soldiers; pan with them as they carry it to the hearse. The hearse finally starts away for the cemetery, followed by the famous Black Horse Cavalry, Troop A, of Ohio.
Fights of Nations
Filmed Jan. 17, 19, and 23-24, 1906, in the Biograph New York City studio. Scene 4 of 6 00.24.40 "Sunny Africa, Eighth Avenue, New York" takes place in an African-American dance hall. After a dance number, a young man in a cap and striped shirt sits for a drink with his female companion. He is soon induced, however, to perform an energetic tap dance as the other patrons watch and clap. When he is motioned outside after the dance, an older suited gentleman notices his absence and introduces himself to the young woman, who invites him to sit down. They have a drink and are dancing a lively cakewalk when the young man returns and angrily breaks them apart. The two men draw large knives and fight, until the woman and a waiter finally separate them. Smiling, the young man and his lady cakewalk out the door. From Biograph bulletin no. 94: Our latest production, under six titles, represents various types and nationalities, with tragedy and comedy intermingled. Every scene is beautifully staged, and each nationality well represented. A comedy scene "Sunny Africa" takes place in a concert hall on Eighth Avenue, New York, frequented by the colored element. Buck dancing, cake walking, etc., are indulged in. The Bully resents the attentions paid to his sweetheart by a dusky gentleman. Immediately razors are drawn and the affair winds up in a rough-house.
The Tramp's Unexpected Skate
On a stage with a painted backdrop of a terrace overlooking a park, a man identified as a tramp by his ragged costume and beard lies asleep against a potted palm tree. Two boys enter from screen right, each rolling on one skate. They see the sleeping tramp, communicate to each other through gestures the gag they have in mind, and bend down to untie their skates. The boys then tie the skates on the feet of the sleeping hobo (I doubt that anyone could actually sleep through this), and awake the man by raising and then dropping one of his legs. The tramp quickly wakes and jumps up to grab the boys, only to roll and slip, then fall on his back, as the boys easily run around him. As the tramp struggles to his feet and then falls again, the boys laugh at and taunt the hapless man. The comedic actions and pratfalls of the tramp on roller-skates are repeated. ** Great physical comedy act. ** From Edison films catalog: Here is a picture that appeals to both young and old. A weary looking tramp lies asleep under the wall of a picturesque park. Two mischievous boys enter on roller skates. They take a cautious view of Weary Willie, when a bright idea enters their heads. They hold a short conference and then removing their skates, they proceed to strap them firmly to the feet of Weary Willie. They then wake the tramp by tickling him under the chin with a straw. Then, just what is expected by the audience happens. Willie starts out in pursuit of his youthful tormentors, but the skates are a hindrance to his progress. In his mad endeavor to reach the boys he goes through a series of very humorous antics and ends by falling in a heap several times, striking on his head more often than on his heels. Length 60 feet. $9.00.
2 A.M. in the Subway
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. Seeing this inappropriate display of leg, the policeman pulls up the gent and forces him and the women on board the car. The 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.
A Wake in "Hell's Kitchen"
Filmed July 26, 1900, on the roof of the Biograph New York City studio. 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 (possibly a man in drag)--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.
Ameta
Filmed April 1, 1903, in the Biograph New York City studio. 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. *** This is an excellent example of the use of moving pictures. An act like this exploited the novelity of motion on film. *** From Library of Congress: Ads in the New York clipper proclaim "mirror dancer" Ameta "the most elaborate act in vaudeville." They describe four dances performed by Ameta, none of which appears to be the dance featured in this film: a "shower of confetti, ribbons;" a "prismatic fountain of real water;" a fire dance; and "mysterious transparent scenery," all performed on "a full stage setting of silk plush [and] eight large French plate mirrors" (3/21/03, p. 97; 8/30/02, p. 587).
Cake Walk
Filmed at the Biograph New York City studio, perhaps on the roof. 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. From Biograph picture catalogue [MI]: 23 feet. An amusing cake walk, by a company of New York darkies who excel in this line of work.
Tribute to the Martyred Presidents
"The Martyred Presidents" : The Edison Film Company's cinematic special effects tribute to the three assassinated American Presidents - -Lincoln, Garfield and McKinley, produced shortly after the assassination of McKinley in 1901. The description of this in the film company's catalogue (see below) expressed how excited they are about their creative special effect bit - -and though it doesn't seem like much today, in 1901 it might have made quite an impression! Fade in on a scene depicting "Columbia seated at the altar of Justice". A woman (dark skinned!!! It's impressive that they have a woman of color representing Columbia - maybe Native American which would make sense - or maybe even African American. ) wearing a voluminous white robe with one shoulder bare, her head bowed, rests on one knee leaning on steps of a classically ornamented altar. On the front of the altar is a dark circle framed by carved olive branches. The face of the late Abraham Lincoln appears in the circle, with a sort of glowing light, stays for about 15 secs then fades to black. The same technique is repeated with pictures of Presidents Garfield and McKinley. 01:28:35 Now another shot : a man huddled at the foot of a statue of Justice (woman holding sword and scales), as if asking forgiveness. He is clutching his head and pounds on the dais, really a tortured soul! I suppose this is supposed to represent the most recent assassin, or the presidential assassins in general. From contemporary Edison co. catalogue: "The scene opens with a beautiful woman who represents Columbia seated at the altar of Justice. As if from out of space there slowly appears a perfect and lifelike picture of Abraham Lincoln. The forming of the picture is first noticed by the appearance of what seems to be a mere spot on the front of the altar. This spot slowly enlarges and is focused into shape, until, to the amazement of the audience, the face of the great emancipator is clearly shown. President Lincoln's likeness is allowed to remain upon the altar just long enough for recognition, when, in the same mysterious manner that it appeared, it slowly fades and in its place their grows the picture of President Garfield. This in a like manner fades away, and again as out of the dim distance comes the picture of our great martyred President, William McKinley. The tableau is then dissolved into a picture of an assassin kneeling before the throne of Justice. Here the tableau ends, leaving an impression of mingled sorrow and sublimity upon the audience. We predict for this picture a remarkable success, and particularly where it is shown in connection with the funeral ceremonies of the illustrious McKinley."
Dance, Franchonetti Sisters
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. l
Ella Lola, a la Trilby
Filmed in Edison's "Black Maria" studio in West Orange, New Jersey. 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. From Niver, K.R. Early motion pictures: The author believes that this film was made in the Black Maria at a camera speed in excess of thirty frames per second. Ella Lola was a stage star of note before the turn of the century, and was given this opportunity to show her ability as a dancer. From the New York clipper, 4/19/02, p. 167: Ella Lola was born Sept. 2, 1883, in Boston, and made her first appearance as a dancer at the age of eleven years, and by her clever work has steadily come to the fore, until now she takes rank among the best in her class. She has been featured at various times with road companies, and has met with success at the leading vaudeville houses through the country.
Fougere
Filmed ca. Nov. 25, 1899, in the Biograph New York City studio. Performer: Eugenie FougFre. 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 FougFre 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.
Foxy Grandpa and Polly in a Little Hilarity
Filmed May 17, 1902, in the Biograph New York City studio. Based on the musical Foxy Grandpa by William A. Brady, which was based on the comic strip by Carl E. "Bunny" Schultz. Joseph J. Hart (Foxy Grandpa), Carrie DeMar (Polly). 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. *** This is great footage. ***
Duel Scene, "By Right of Sword"
Filmed Jan. 7, 1904, in the Biograph New York City studio. Probably based on the stage play by E.M. Doremus, Leonidas Westervelt, and Arthur W. Marchmont, from Marchmont's 1897 novel "By right of sword." 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. From Biograph bulletin no. 23: 114 feet. An exciting duel with the rapiers showing Mr. Ralph Stuart in the leading part.
A Ballroom Tragedy
Filmed June 14, 1905, in the Biograph New York City studio. 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 risque 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.
"Dancing Darkey Boy"
A young African American boy does a tap dance. The performance takes place outside, perhaps in a warehouse district. He seems to be standing on a platform. There is a group of working class white men make up the audience. They are crowded in all around the boy and they clap enthusiastically. The boy is wearing a white saior suit, complete with hat.
Fights of Nations
Filmed Jan. 17, 19, and 23-24, 1906, in the Biograph New York City studio. Scene 1 of 6 In "Mexico and Spain," a man dressed as a Mexican peasant spies on a happy young woman and her suitor, who wears a fancy Spanish, matador-style outfit. The woman dances for her companion, then the couple embrace and sit on a stone bench, holding hands. The jealous peasant rises from his hiding place to stab his rival, but the woman grabs his arm and stops him. The two men engage in a fierce knife fight, with the woman at one point helping her suitor regain his lost weapon. The Spaniard finally disarms his opponent, but consents to the woman's begging and spares the peasant's life. From Biograph bulletin no. 94: Our latest production, under six titles, represents various types and nationalities, with tragedy and comedy intermingled. Every scene is beautifully staged, and each nationality well represented. "Mexico vs. Spain," the first scene, shows the rejected Mexican suitor, in a jealous rage, watching the love-making between Carlos, the Spaniard, his hated rival, and the beautiful senorita. With drawn stiletto, he pounces upon the Don, but the senorita seizes his arm, thus saving her lover from a horrible death. After a terrific hand-to-hand encounter, the Don has the point of vantage over the Mexican, but through the pleadings of the girl releases him and bids him go.
The Society Raffles
Filmed Nov. 24, 1905, in the Biograph New York City studio. Opens on a set of a nicely-decorated living room, with a door stage left and a settee in front of an open window in the foreground. A middle-aged man with greying hair and a mustache, wearing formal evening clothes, enters the room, looks around, and seems relieved to find it empty. He crosses to the window and signals, and a roughly-dressed "tough" appears. The two men talk, apparently making plans, and then the bandit ducks out of sight as a couple enter the room. A younger man, also in a tuxedo, introduces a woman in a white gown and jeweled tiara, then leaves. The older man invites the woman to sit. As he takes her hand and appears to court her, he cleverly slips the tiara off her head and hands it out the window to his waiting accomplice. The thief kisses her on the cheek, then checks his pocketwatch, rises, and excuses himself. The woman follows him to the door, but as she walks back to the settee she sees the tough at the window examining the tiara. She clutches her head and screams, then swoons in a faint on the sofa as the bandit runs away.
Arabian Gun Twirler
A bearded man performs a rifle twirling act on a stage with a painted backdrop of a city street corner. He wears a white turban and a dark two-piece costume of tunic and baggy pants that narrow at the knees; perhaps the costume of an Arab infantryman. The tricks he performs include throwing the spinning rifle in the air and catching it; twirling the gun in front of him, above his head, behind his back, to the side of his torso, and under his leg; and twirling the rifle as he switches hands. Hadji Cheriff was apparently a performer on the Midway Plaisance of the 1893 World's Columbian Exposition in Chicago, Illinois, perhaps in the "A Street in Cairo" or Turkish village exhibits.
Gordon Sisters Boxing
Two women on a stage approach from either side of the painted backdrop of a garden and engage in a boxing match. Both the boxing gloves and the hits exchanged between the women seem genuine. One woman wears a modest white dress with long sleeves and a skirt to mid-calf, dark stockings, and laced boots. The other woman--taller, thinner, and perhaps younger--sports a shorter, dark, sleeveless dress and the same dark stockings and boots. From Edison films catalog: Champion lady boxers of the world. Here we depict two female pugilists that are really clever. They are engaged in a hot and heavy one-round sparring exhibition, which is photographed against a very pleasing background, consisting of a park, with marble entrance and walk, and beautiful trees and shrubbery. The exhibition is very lively from start to finish; the blows fall thick and fast, and some very clever pugilistic generalship is exhibited. Length 100 feet. $15.00 We also furnish an excellent 50-foot strip $7.50. Notes from Library of Congress: Two sets of Gordon Sisters advertised their bag punching and boxing act in the New York clipper: Bessie and Minnie in 1901, and Bessie and Alice in 1903. The sisters performing in this film are most likely Bessie and Minnie, given a photo of the two that ran in the 11/15/02 issue of the Clipper. Photo caption: "Gordon Sisters, Bessie and Minnie, have successfully played Eastern houses for the past six or seven years. They are now with the Oriental Burlesquers, as the feature act. Their specialty also introduces bag punching by Bessie Gordon. They claim to be the originators of the lady boxing acts, presenting only scientific sparring. Both play leading parts in the burlesque"
Japanese Acrobats
Filmed in Edison's New York City studio. An Oriental man and boy walk on a stage with a painted backdrop of a garden or park, give a slight bow to the camera as if it were an audience member, and remove their silk jackets. Both wear dark tights and leotards with light-colored slippers; the man also wears grey trunks, and the boy sports a white cloth around his middle. Lying on his back on a fitted mat, the man juggles and spins the boy with his feet. The boy's acrobatic movements include spinning in a tucked ball-like position, flipping lengthwise in a prone position, flipping from a standing position to a shoulder-stand, somersaulting from a standing to a sitting position, repeated flips involving both the hands and feet of the man, and other series of somersaults and turns. After finishing the act, the acrobats take a slight bow and run off the stage, then return for another bow before finally exiting. From Edison films catalog: A Japanese juggler performs some marvelous juggling feats with a boy. Lying on his back on the floor, he spins the boy with his feet and makes him turn numerous somersaults. 120 ft. $18.00.