Tau 1904

Using every known means of transportation, several savants from the Geographic Society undertake a journey through the Alps to the Sun which finishes under the sea.

This shows a prince entering upon the stage of the King's private theatre. He is about to do a few mystifying tricks for the amusement of the court.

The background of this picture represents a scene along the beautiful river Seine in Paris. A gentleman enters, and taking a blackboard from the side of the picture, he draws on it a sketch of a novelist. Then, standing in the centre, he causes the living features of his sketch to appear in the place of his own, which is utterly devoid of whiskers. The change is made so mysteriously that the eye cannot notice it until one sees quite another person in the place of the first. Again another sketch is shown on the board, this one being that of a miser; then an English cockney; a comic character; a French policeman, and last of all, the grinning visage of Mephistopheles. It is almost impossible to give this film a more definite description; suffice it to say that it is something entirely new in motion pictures and is sure to please. (Méliès Catalog)

A magician conjures up a mermaid while fishing.

A cook has his hands full with three mischievous devils, who pop in and out of his kitchen.

A Jew who mocked Jesus on the cross is visited by a devil and an angel.

Only women are at a resort, until one man arrives. He woos a pretty young widow, and wins her.

Chronophotograph record of a ball falling through a soap bubble.

Klingsor seeks admission to the Holy Grail. Evil summons Kundry. Herzeloid appears with the child Parsifal. Crowning of Amfortas. Wounding of Amfortas. Carrying Amfortas to his bath. Kundry brings relief to Amfortas. Parsifal reproached for killing the Swan. Kundry succumbs to Evil. Knights entering the Holy Grail. Parsifal unmoved. Klingsor summons Kundry. Parsifal enters the Magic Garden. Kundry kisses Parsifal. Parsifal calls upon the Saviour. Parsifal repulses Kundry. Klingsor hurls the Sacred Spear. Destruction of the Magic Garden. Guernemanz restores Kundry. Parsifal appears with Sacred Spear. Kundry washes Parsifal's feet. Amfortas tears open his wound. Parsifal heals Amfortas. Parsifal becomes King of the Holy Grail.

The adventures of an inattentive man who can't look away from his book.

Buster Brown creater R.F. Outcault sketches his creation. Part of the Buster Brown series for Edison film studio.

Directed by Edwin S. Porter and/or Wallace McCutcheon Sr.

In a public place in Constantinople at the corner of a bazaar, the executioner is seated upon a stone and is resting from his daily labors while eating a crust of bread. Suddenly there come running into the place a lot of Turkish men and women preceding some Turkish policemen, who drag along four prisoners in chains. The policemen shut up the four prisoners in the pillory. Their four heads stick up through the huge plank, which is provided with four openings. One of the policemen urges the executioner to decapitate the prisoners. He accordingly seizes a mighty sabre and cuts off by a single stroke the four heads, which roll upon the ground.

A large bucket full of molten material is poured into a large container, possibly a mold, by a group of men using machinery. Some other men stoke the fire under the container. When finished pouring, the men lift the bucket up from the container and take it away on a crane. Two men put prods down repeatedly into the container, while others lay covers on top of it.

A barmaid plies a swell with smiles and with cherries from a box that's just been delivered. When she refuses a cherry to a roughly-dressed tradesman who runs a tab at the bar, he pays off his debt in a huff, using all his week's pay. He then storms penniless and without provisions into his ill-furnished house where his wife and two children, ill-clad and ill-fed, cower. Is there any hope for him and for his family? If he does realize how low he's sunk, what help is there to lift him up? Will the family ever know the taste of cherries?

A Chinese conjurer stands next to a table, it becomes two tables. A fan becomes a parasol, lanterns appear and disappear. The conjurer spins the open parasol in front of himself, and a dog leaps out from behind it. The dog becomes a woman, then a masked man appears. The conjurer sits them each on a box a few feet apart: suddenly the woman and man have changed places. The disappearing and the transfers continue in front of a simple backdrop.

During a strike, several workers are killed in a confrontation. The wife of one of them kills the factory owner. At her trial, the owner's son asks for mercy, knowing that his father was wrong. Because of that the wife is freed.

Numerous women stand in rows at winding machines, taking material from large spools behind them. A male supervisor walks down the aisle, checking the work of the women.

Opens with a woman posing on a pedestal, dressed in a white body leotard with a sash tied at her hips. Marshall continues with various feminine poses, reminiscent of classic Greek statuary, to accentuate her figure. Film cuts to Treloar posed on the bare stage without a pedestal. He wears brief leopard-skin trunks or short tunic, wrist bands, and Roman-looking laced sandals. His poses accentuate the muscular development of his upper body, particularly that of his arms, and include movements that make the muscles jump. Treloar finishes with a slight nod to the camera.

A man hides his valuables under his mattress before going to sleep, blissfully unaware of the two burglars on his roof.