Stacia Napierkowska

Directed by Camille de Morlhon. Set in ancient Babylon.

Paris is prey to an invisible terror against which the police can do nothing: a sinister organization that sows chaos and death. The intrepid journalist Philippe Guérande and his partner embark on a long crusade to put an end to the crimes of the Great Vampire and Irma Vep, his dangerous accomplice. (A ten episode movie serial.)

Le Grand Vampire, in disguise as Count de Noirmoutier, reads that ballerina Marfa Koutiloff, who is engaged to Philipe, will perform a ballet called The Vampires. To prevent her from publicizing the Vampires’ activities and to deter Philipe, he gives Marfa a poisoned ring before her performance.

Esmeralda, a beautiful gypsy street dancer, arouses the desire of men, especially of Claude Frollo, the archdeacon of Notre Dame. The latter asks Quasimodo, the deaf and deformed bell-ringer of the cathedral, to kidnap the girl. Quasimodo, who has been adopted by Frollo and obeys his every word, captures the gypsy but she is saved thanks to Phoebus, a handsome captain, and his archers. Arrested by Phoebus, the hunchback is condemned to be flogged at the pillory. When Esmeralada, moved to pity by his lot, gives him water to drink, Quasimodo falls in love with her. Later, Phoebus is stabbed to death and Esmeralda is wrongly accused of the murder. Sentenced to hang, she is saved by Quasimodo who offers her asylum and... the love of his heart.

Who killed this man to rob him of his money in this notorious neighborhood of Paris? The usual local scoundrel such as the one that has almost been lynched by the mob and arrested by the police? Not at all. In fact the poor man is innocent, even though appearances are deceiving. The real culprit is a respectably-looking man who, to divert suspicion, has put some blood of his victim on his fingers and some of the stolen money in his pockets while he was asleep.

Two men, lost in the desert, meet Queen Antinea, ruler of Atlantis.

A young intellectual, J. Powers, loses his faith in God after the untimely death of his wife. He devotes his great talents to writing a shockingly blasphemous book, debunking all religion, and then embarks on a trip to Jerusalem. Far from reconciling him to God, the sight of all the different sects worshipping in that ancient city only serves to embitter him and deepen his unbelief. One day, wandering in the country, he loses his way and stops to ask directions at a small house. The inhabitants are a poor but devout family whose daughter, Ruth, revives his broken heart. At the risk of losing her, he confesses to her his loss of faith, and she gently declares that meditation on the Gospels will heal him. He sorrowfully tells her that he wishes he could believe as she does, but it is impossible.

Like Max Ophüls, Capellani set many films in the theatre – backstage, on stage, in the public eye; Here is a rags-to-riches story of a dancer and her older benefactor, a kind-hearted piano tutor.

In all the arts the ancient Greeks excelled and their statuary, their music, their poetry, their dances, have remained to subsequent generations a standard to be followed and emulated. Terpsichore was the goddess of the dance, and if we read our mythology aright, taught the poetry of motion to her devotees. To all but a few who have made a study of Hellenic dancing such grace of action, such lithesomeness of body as was essential to the art when Grecian beauties tripped lightly and rhythmically over the green sward, is impossible. Mesdemoiselles Napierkowska and Marly, however, are superb in an exquisitely graceful ballet by Sacha Dezac, entitled "In Ancient Greece." The dance is perfect and the quality of the film is such that it is difficult to believe that the dancers do not themselves appear in the flesh before the eyes of the spectators, instead of being a mere photographic reproduction of their swaying rhythmic movements.

1912 French silent short drama directed by René Leprince.

Max, awakening on his wedding morning, discovers that it is close on the hour when he should be at the church. He dresses hastily, and in struggling with a refractory collar, allows his boots to be burnt by the fire. There is no time to change them, and he hastens off to the bride's house. On the way his soles part company with their uppers, and poor Max enters into negotiations with a passing labourer for the purchase of his footgear.

Max Linder finds himself obsessed with bull fighting. This seems to echo the nature of the actual man, who is reported to have mastered most of the skills that his character attempts within a rapid amount of time; when you see Max challenging a bull or several towards the end of the film, you can be quite confident that it is the real Linder triumphing out on the arena.

As a struggling artist, Max is not allowed to pay attentions to a girl by her father. Max decides to win by persistency, and it is a case where persistency meets obstinacy to come off victorious. The artist is required to follow the father and daughter through the Alps. He finally gets the old man's promise to give his consent to the marriage in payment for his rescue.

Commonly confused with Max ne se mariera pas

Max and his friend, who came to visit him in Paris both fall in love with his new maid. The girl is very friendly, and while one plays the piano, she dances with the other - and they are so happy that even the decor dances at the rhythm.