Sarah Duhamel loves the furniture in her little apartment, but she hasn't kept up the payments. It's repossessed and she is heartbroken. When walking down a street, crying, she spots her former possessions in front of a second-hand dealer, rushes over to give it one last embrace... and it follows her home.
It's a trick comedy, with the funny sequence of the furniture trundling along shot in split screen; Miss Duhamel on the left, delighted at the loyalty of her knick-knacks, and the beds, rugs and so forth trundling along in eager stop-motion delight. It's not new, even for 1911, but it's a fine example of how the camera tricks of Melies, which is what his films were all about, became part of the vocabulary of cinema.
It's a trick comedy, with the funny sequence of the furniture trundling along shot in split screen; Miss Duhamel on the left, delighted at the loyalty of her knick-knacks, and the beds, rugs and so forth trundling along in eager stop-motion delight. It's not new, even for 1911, but it's a fine example of how the camera tricks of Melies, which is what his films were all about, became part of the vocabulary of cinema.
