Obseques de la Reine Victoria en 1901. Cortège funèbre de militaires “horse guards”.

This short film, along with other experimental sound films, is thought to have been recorded for the Paris 'Exposition Universelle' of 1900.

"This funny individual will make you laugh until your sides ache. He is funny in all his actions, yet when he puts on his shoes you can imagine the noise he can make when he dances an ordinary clog. The shoes referred to are made of some elastic material which enables Little Tich to bow almost to the floor without bending his legs, the spring in the shoes carrying him down and up again. He places his hat on the floor and, leaning over on the toes of his wonderful shoes, dips his head into the hat and comes up without having to move from the spot or to bend his legs. He is a comical looking sight at best, being made up to suit the part, and he will make you laugh whether you want to or not."

Considered the first motion picture to employ both color and sound, the only film record ever made of the original star of Rostand's famous play performing a scene from his most famous role. It is accompanied by a sound-on-cylinder recording of Coquelin's voice reciting one of Cyrano's speeches.

The movie consists solely of a saber fight. Bernhardt plays a cross-gender Hamlet, and Pierre Magnier is her fellow duelist, Laertes. A few bystanders, in Rennaissance dress, stand off to the right of the screen, and in the background, next to a painted backdrop.

On a stage in front of a painted backdrop representing a park, Blanche and Louise Mante, one dressed in a man "Incroyable" suit from the 1st Empire period, dance.

Motor cars of different models, drivers, passengers and observers, all filmed from the starting line of the Paris-Meulan race.

Episodes from the life of Elizabeth I, Queen of England (1533-1603), focusing on her ill-fated love affair with Robert Devereux, Earl of Essex.

The Phono-Cinéma-Théâtre was a special pavilion at the 1900 Paris World's Fair which featured filmed performances presented with sound via wax cylinder recordings. Many of these short films were also presented in hand-tinted color. The performances ranged from theatre (Coquelin the eldest, Gabrielle Réjane, Sarah Bernhardt, Félicia Mallet), opera & operetta (Mariette Sully, Emile Cossira, Jeanne Hatto, Mily-Meyer, Désiré Pougaud), to café concert & music hall variety (Footit et Chocolat, Mason and Forbes, Little Tich, Brunin, Polin, Jules Moy) and dance (Blanche and Louise Mante from the Paris Opera, Carlotta Zambelli, Michel Vasquez, Rosita Mauri, Jeanne Chasles, Achille Viscusi, Christine Kerf, Cléo de Mérode).