The sea is quite rough, and at Dover a series of heavy waves pounds against a pier and along the adjacent shoreline. The scene then shifts to a different view of flowing water, and shows a heavy current from a point along a riverbank.
A baby is seated at a table between its cheerful parents, Auguste and Marguerite Lumière. While the father is feeding the baby with a spoon, the mother is pouring coffee into her cup. The ... See full summary »
Mrs. Auguste Lumiere,
Auguste Lumière directs four workers in the demolition of an old wall at the Lumière factory. One worker is pressing the wall inwards with a jackscrew, while another is pushing it with a ... See full summary »
A man opens the big gates to the Lumière factory. Through the gateway and a smaller doorway beside it, workers are streaming out, turning either left or right. Most of them are women in ... See full summary »
A gardener is watering his flowers, when a mischievous boy sneaks up behind his back, and puts a foot on the water hose. The gardener is surprised, and looks into the nozzle to find out why... See full summary »
Members of the French Photographic Society arrive from a riverboat to their congress venue in Neuville-sur-Saône on a summer day. They go ashore across a wooden landing stage. Among the ... See full summary »
A satire on the way that audiences unaccustomed to the cinema didn't know how to react to the moving images on a screen - in this film, an unsophisticated (and stereotypical) country yokel ... See full summary »
A stationary camera looks on as two dapper gents play a game of chess. One drinks and smokes, and when he looks away, his opponent moves two pieces. A fight ensues, first with the squirting... See full summary »
A man and a woman talk beside a street near a corner where a cop stands. Just as a horse-drawn cart rounds the corner, the man backs off the sidewalk saying good-by to his companion. The ... See full summary »
This film is perhaps only an existing fragment of a longer version because everything seems to be over when we - in Steve Ryder-speak - join the action. We see a handful of horses cantering past the camera's vantage point in the first half of the film and it's clear that the race has actually been run and all we are watching is the horses slowing down after passing the winning post. As soon as they've past the crowd swarm onto the race track for some reason, as if they everybody want to be on the side that they're not on and therein may lie a great philosophical statement on the part of the filmmakers... or maybe not. The film's grainy and there's not a lot to see, but it has historical significance as one of the earliest extant British films and an example of the brief and ill-fated collaboration between British pioneers R. W. Paul and Birt Acres.
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