The Automatic Motorist

The artist is presented, with his board: his only appearance. The hand rapidly outlines a human head, into the chalky jaws of which it inserts a cigarette. The chalk head smokes, and finally eats, the cigarette. The head of a woman is drawn, which gradually fills and becomes undoubtedly human. —Urban-Eclipse catalogue

Mephistopholes causes an artist's model to disappear.

A mix of spectacle, animation and dance, the film reveals an early delight in the potential for creative fun with film form. Its director, Walter R. Booth had been described as making British films which attempted to out-Méliès Méliès.

A cheeky female jester uses the smoke of her cigarette to make things appear and disappear. After showing her talents by playing with a chair or a dog, she lets clowns appear; one female, and two male. The male clowns fight each other over the girl who gets changed over and over again by the jester.

The Waif and the Wizard features the same young man who appeared in Undressing Extraordinary (and who might be early filmmaker Walter Booth). It's another early example of a two-shot film along the lines of Paul's earlier film Come Along Do!. The young man plays a magician who, after completing his act, agrees to go home with the young boy from the audience who helped him perform his tricks. At the boy's home he finds a sick sister and a worried mother being threatened with eviction by her landlord.

Filmed on a mountain railway from Caux to Rochers de Naye, Switzerland. Originally filmed in 68mm. The film was advertised as being available in 'standard Edison gauge' (35mm) at a total length of 620ft, which included both ascent and descent. The surviving combined 35mm footage (from 68mm originals) equals 519ft.

A magical glowing white motorcar ignores policemen, drives up buildings, flies through outer space, and can transform into a horse and carriage.

Two sports are seen drinking beer and arguing as to the qualities of certain prize fighters. They make a bet, and to prove it, each pulls his favorite pugilist from his pocket, and they set them on the table. A hot battle ensues, in which one of the midgets is knocked out. The sport whose favorite won the fight takes the money with a look of satisfaction, and replaces his man in his pocket. The loser looks very much disgusted as he picks up his man and puts him back in his pocket. Very mystifying.

On the roof of an ancient palace appear a young Knight and his lady. While they are making love an ugly old witch appears and is rather troublesome. The Knight commands her to leave, and when he is about to force her away she sits on her broom and rises to the moon. After disappearing she causes various hob-goblins to haunt the pair, the last of them stealing away the lady while the Knight's back is turned. The Knight, frantic with grief, is suddenly confronted by a Fairy, who presents him with a magical sword, and tells him that he can use it to regain the young woman.

Using a futuristic submarine, pirates kidnap a young couple, torpedo a passenger ship, travel under the sea to salvage bullion, then make their escape by taking to the air.

An artist draws the head of a pretty girl, takes the drawing off the paper and places it on a small table, turning the image into the head of a real woman. He then continuous drawing the lady, one body part after the other.

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 horse and cart flatten him and continue on, out of the camera's stationary range. The cop runs after the cab, the woman dashes to the body. The cop brings back the driver; is the victim dead?

An inventor uses a wireless controlled flying torpedo to destroy enemy airships.

Stop-motion animation of putty modeling itself into faces.

Filmed in 35mm and in black and white, this short silent film was produced by the English film pioneer R. W. Paul, and directed by Walter R. Booth and was filmed at Paul's Animatograph Works. It was released in November 1901. As was common in cinema's early days, the filmmakers chose to adapt an already well-known story, in this case A Christmas Carol by Charles Dickens, in the belief that the audience's familiarity with the story would result in the need for fewer intertitles. It was presented in 'Twelve Tableaux' or scenes.

A magician performs tricks. First with a top hat, then with his audience.