The Lover in the Bag

The Lumière catalog sold this title as 13 individual, one-scene films, allowing exhibitors to choose which films they wanted to purchase and how to arrange them in their programs. Lumière catalog no. 933 through 945.

Nero, seated on a throne, has slaves summoned. Each drinks poison and dies, the second even though he can see the corpse of his predecessor.

With contraband strapped to the backs of their dogs, smugglers set off to cross the Spanish-French border. Having been spied upon and betrayed to customs officers, a fierce skirmish results and only the dogs and a single smuggler reach their destination.

One minute costume drama from the Lumiere company.

This one is modelled on the painting by Paul Delaroche and is an extension of the stage act known as “tableau vivant”.

An illusionist makes a woman disappear in thin air. There is no credited director for this film, although three different persons get attributed, Gaston Breteau, Alice Guy or Georges Hatot.

Félicien Trewey mimes Pierrot being harassed in his sleep by a fly.

A hypnotist tricks his patients. There is no credited director for this film, although three different persons get attributed, Gaston Breteau, Alice Guy or Georges Hatot.

This early film made by Georges Hatot for the Lumière Company is a brief single shot-scene of the assassination of the French revolutionary writer, Jean-Paul Marat--who has the notorious distinction of having influenced the Reign of Terror.

This reconstruction refers to a meeting that allegedly took place on 25 November 1804 at Fontainebleau between Pope Pius VII and Napoleon to discuss the coronation.

A young and pretty but indiscreet girl employs her spare time in trying to find out what is going on in the different rooms of a Turkish bath.

Scene of the last supper.

Staged assassination from the Lumiere company.