Historic Films Stock Footage Archive: VM-736

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07:00:36 0	ROMANCE OF A JEWESS. AM&B 1908 THIS FILM WAS PHOTOGRAPHED FROM A SINGLE-CAMERA POSITION ON FOUR SETS, AND IS THE STORY OF A YOUNG JEWESS, THE DAUGHTER OF A PAWNBROKER, WHO FALLS IN LOVE WITH A GENTILE BOOKSTORE OWNER. HER FATHER REFUSES HER PERMISSION TO MARRY THE MAN, BUT SHE DOES SO ANYWAY, AND THEY ARE HAPPY WITH THEIR SMALL GIRL UNTIL THE HUSBAND HAS A FATAL ACCIDENT. THE WIFE IS FORCED TO SELL THE BOOKSTORE. SHE BECOMES ILL AND SENDS HER DAUGHTER WITH HER LAST POSSESSSION TO THE PAWNBROKER WHO RECOGNIZES IT AS A GIFT HE HAD MADE TO HIS DAUGHTER. THE FILM ENDS WITH A RECONCILIATION SCENE. IMMIGRANT STREET SCENE. PEDDLERS.
07:11:13 637.67	BIOGRAPH, 1909 A STRANGE MEETING AN OLD WOMAN ATTEMPTS TO RESCUE A LOVED ONE FROM A SALOON BY GOING TO HER MINISTER (ARTHUR JOHNSON) FOR HELP. THE MINISTER ACCOMPANIES HER TO THE SALOON, AND ENDS UP AIDING A YOUNG WOMAN (STEPHANIE lONGFELLOW) WHO HAS FALLEN IN WITH EVIL COMPANIONS. THERE ARE SEVERAL SCENES OF THE YOUNG WOMAN DRINKING AND CAROUSING WITH HER FRIENDS, AND OTHERS OF HER IN CHURCH, AND WITH THE MINISTER, APPARENTLY IMPRESSED WITH THE GOOD LIFE. HE GIVES HER A CROSS, AND LATER IN THE FILM SHE GOES TO HIM TO RETURN IT AS SHE HAS DECIDED TO CONTINUE HER WILD WAYS. SHE LEAVES, HAS SECOND THOUGHTS AND RETURNS. THE LAST SCENE HAS AN UNUSUAL PHOTOGRAPHIC EFFECT CAUSED BY LOW KEY INCANDESCENT LIGHTS.
07:21:36 1260.67	THE BLACK HAND AM&B, 1906 THIS FILM WAS BASED ON AN ACTUAL MAFIA KIDNAPPING THAT OCCURRED IN NEW YORK CITY. SOME OF THE SCENES WERE PHOTOGRAPHED ON SETS WHILE OTHERS WERE TAKEN ON THE STREETS IN THE NEIGHBORHOOD WHERE THE ILLEGAL ACT TOOK PLACE. THE FILM SHOWS THE CONSPIRATORS WRITING A THREATENING LETTER AND MAILING IT, THE RECEIPT OF THE LETTER, THE KIDNAPPING OF THE LITTLE GIRL, AND THE SUBSEQUENT CAPTURE OF THE GANG BY THE POLICE. THE STORY WAS FILMED IN DOCUMENTED SEQUENCES, EACH DESCRIBED BY A BLOCK LETTERED TITLE.
07:29:19 1723.67	WOMEN OF THE GHETTO BATHING AM&B, 1902 LOWER EAST SIDE, NEW YORK CITY. THE SUBJECT IS A GROUP OF WOMEN BATHING IN A PUBLIC SWIMMING POOL. THE CAMERA WAS PLACED ON THE EDGE OF THE POOL AND THE FULL EXTENT OF THE FILM SHOWS THE WOMEN IN THE POOL. ONLY THE HEADS AND SHOULDERS OF MOST OF THE WOMEN ARE VISIBLE BUT IT IS POSSIBLE TO SEE THEY ARE WEARING RENTED BATHING ATTIRE.
07:30:03 1767.67	BAD BOY'S JOKE ON THE NURSE EDISON, 1901 THE LOCALE OF THIS FILM IS OUTDOORS IN A PARK. A SLEEPING OLD MAN AND A NURSEMAID WITH A BABY ON HER LAP OCCUPY BENCHES ON OPPOSITE SIDES OF A WALK. TWO YOUNG BOYS APPROACH AND DECIDE TO PLAY A PRANK. THEY REMOVE THE BABY FROM THE NURSEMAID'S LAP AND PLACE IT ON THE LAP OF THE MAN AND WITHDRAW TO WATCH. THE OLD MAN WAKENS, DISCOVERS THE BABY, BECOMES HYSTERICAL AND TRIES TO HIDE THE INFANT. THE NURSE WAKES AND BEGINS STRIKING HIM. AT THE END OF THE FILM, A POLICEMAN CAN BE SEEN LEADING THE TWO COMBATANTS OFF CAMERA WHILE THE BABY IS LEFT TO ITS OWN DEVICES ON THE PARKWAY.
07:31:02 1826.67	A GESTURE FIGHT IN HESTER STREET AM&B, 1903 LOWER EAST SIDE, NEW YORK CITY. THE CAMERA WAS POSITIONED AS IF IT WERE IN THE AUDIENCE OF A VAUDEVILLE THEATER. A NECKTIE SALESMAN WITH A TRAY OF NECKTIES ARRIVES ON THE SCENE FIRST. BEHIND HIM IS A PAINTED BACKDROP DEPICTING A STORE, A SALOON, ETC. AS THE FILM CONTINUES, THE NECKTIE SALESMAN ACCOSTS A PASSING WOMAN WHO REFUSES TO BUY HIS MERCHANDISE. THEN A PUSHCART PEDDLER BUMPS INTO HIM AND A FIGHT ENSUES. AS THE FILM ENDS, THE PUSHCART HAS BEEN OVERTURNED, AND A POLICEMAN IS BEATING THE TWO WARRING SALESMEN ON THEIR HEADS WITH A NIGHTSTICK.
07:33:39 1983.67	STREET CAR CHIVALRY EDISON, 1903 THE ACTION TAKES PLACE ON A SET OF THE INTERIOR OF A STREETCAR. A YOUN WOMAN BOARDS THE STREETCAR, AND SEVERAL MEN IMMEDIATELY JUMP TO THEIR FEET, REMOVE THEIR HATS, AND OFFER HER THEIR SEATS. A LARGE WASHERWOMAN COMES IN AND THE MEN BUSY THEMSELVES READING NEWSPAPERS AND BOOKS, ETC. THE WASHERWOMAN SUPPORTS HERSELF BY HOLDING ONTO THE STRAP, AND FINALLY MANAGES TO GET A SEAT BY THE SIMPLE EXPEDIENT OF USING THE ROCKING OF THE STREETCAR AS AN EXCUSE TO TROMP ON ALL THE SEATED MEN'S FEET UNTIL THEY CANNOT STAND THE PAIN. THEY GET UP AND LEAVE AND THE WOMAN NOT ONLY HAS A SEAT FOR HERSELF BUT ALSO ROOM FOR HER PAPER BAGS AS WELL. THE STREETCAR OVERHEAD ADVERTISING SIGNS ARE MADE UP OF PRODUCTS THEN MANUFACTURED BY THE EDISON MANUFACTURING COMPANY - THE PHONOGRAPH, ELECTRIC LIGHT, AND A NEW PRODUCT, THE KINETOSCOPE. NICKELODEON
07:35:06 2070.67	MAN WASHING CLOTHES & WIFE AT PIANO
07:35:49 2113.67	EAST SIDE URCHINS BATHING IN A FOUNTAIN EDISON, 1903 A LARGE WATER FOUNTAIN WITH A WATER DEPTH OF APPROXIMATELY THREE FEET CAN BE SEEN FROM A SINGLE CAMERA POSITION. BEYOND THE WATER FOUNTAIN ARE UNIDENTIFIABLE NEW YORK CITY BUILDINGS. TWENTY SMALL BOYS COME FROM BEHIND THE CAMERA, GO TO THE FOUNTAIN, AND CLIMB IN THE POOL WHERE THEY SPLASH ABOUT. THE FILM ENDS AS TWO OR THREE MEN SHOW DISAPPROVAL OF THESE ANTICS AND CHASE THE LITTLE BOYS FROM THE FOUNTAIN.
07:36:56 2180.67	AROUND NEW YORK IN 15 MINUTES PALEY & STEINER, 1905 THE FILM BEGINS FROM A CAMERA POSITION OVER THE HEADS OF PEOPLE WAITING FOR THE ARRIVAL OF A LARGE BUT UNIDENTIFIED OCEAN LINER AT THE NEW YORK CITY DOCKS. THE FILM CONTINUES AND, IN SMALL SEGMENTS, SHOWS VARIOUS BUSY INTERSECTIONS. THE LENGTH DOES NOT ALLOW MANY POINTS OF INTEREST TO BE SEEN. NYC 1900'S
07:37:41 2225.67	PANORAMA FROM THE BROOKLYN BRIDGE TOWER AM&B, 1903 THE FILM WS PHOTOGRAPHED FROM A SINGLE-CAMERA POSITION, THE TOWER OF THE BROOKLYN BRIDGE. THERE IS AN APPROXIMATELY 180-DEGREE PAN THAT SHOWS THE STATEN ISLAND AND MANHATTAN ISLAND WATERFRONTS.
07:38:08 2252.67	RUBE & MANDY AT CONEY ISLAND EDISON, 1903 THIS FILM RECORDS A TRIP AROUND CONEY ISLAND BY A COUPLE MADE UP AS COUNTRY BUMPKINS. THE CAMERA PLACEMENT SHOWS THEIR ENTRANCE, EXIT, AND PARTICIPATION IN THE VARIOUS CONCESSIONS. IN THE NEXT-TO-LAST SCENE, THE TWO APPROACH A HOT DOG STAND, AND EACH BUYS A HOT DOG AND EATS IT IN A GREEDY MANNER WHILE WALKING TOWARD THE CAMERA. IN THE FINAL SCENE, THE CAMERA MOVES IN FOR A CLOSE-UP, WAIST SHOT OF THE TWO PRINCIPALS EATING THE HOT DOGS AND GETTING MUSTARD AND PIECES OF ROLL ALL OVER THEIR FACES.
07:46:31 2755.67	CONEY ISLAND AT NIGHT EDISON, 1905 THE FILM, TAKEN AT NIGHT WHEN THE ONLY SOURCE OF LIGHT FOR THE PHOTOGRAPHER WAS THE CONCESSIONS THEMSELVES, SHOWS BOTH CLOSE-UP AND DISTANCE SHOTS, ELEVATED AND AT STREET LEVEL, OF THE VARIOUS CONCESSIONS IN CONEY ISLAND. THE TITLES OF THE FILM COULD HAVE BEEN PHOTOGRAPHED ON THE SPOT. HOWEVER, THEY SEEM TO HAVE BEEN CONTRIVED FOR THE FILM BY THE USE OF STOP-ACTION PHOTOGRAPHY.
07:49:31 2935.67	THE CAMEL AT LUNA PARK AM&B, 1903 CONEY ISLAND, NEW YORK. THE FILM, PHOTOGRAPHED FROM A SINGLE CAMERA POSITION, SHOWS A LARGE THRONG STANDING AROUND A KNEELING, SINGLE-HUMP CAMEL. A WOMAN IS HELPED ABOARD THE CAMEL'S BACK BY AN ATTENDANT. AS SOON AS SHE IS SEATED, THE DRIVER LEADS THE CAMEL AWAY, PAST THE CAMERA, OUT OF THE SCENE, AND THEN BACK INTO THE SCENE. THE WOMAN IS HELPED OFF THE CAMEL, AND THE CROWD DISPERSES.
07:50:29 2993.67	ELEPHANTS SHOOTING THE CHUTES AT LUNA PARK EDISON, 1904 CONEY ISLAND. ANIMAL ACT. THE CAMERA WAS PLACED TO SHOW A SMALL BODY OF WATER. ACROSS THIS BODY OF WATER, APPROXIMATELY A HUNDRED FEET AWAY, A LARGE SLIDE CAN BE SEEN. LEADING UP TO THE SLIDE ON AN INCLINE IS A WALKWAY OF HEAVY CONSTRUCTION. AN ELEPHANT IS SEEN AT THE TOP OF THE SLIDE. IT GOES DOWN THE SLIDE INTO THE WATER. THE ELEPHANT SWIMS ACROSS THE WATER AND ITS MAHOUT LEADS IT AWAY.
07:51:35 3059.67	NEW YORK CITY "GHETTO", FISH MARKET EDISON, 1903 THIS FILM, PHOTOGRAPHED FROM AN ELEVATED CAMERA POSITION, SHOWS A VERY CROWDED NEW YORK CITY STREET. ROWS OF PUSHCARTS AND STREET VENDORS' VEHICLES CAN BE SEEN.
07:54:15 3219.67	BARGAIN DAY, 14TH STREET, NEW YORK AM&B, 1905 THE CAMERA POSITION WAS A SECOND FLOOR ESTABLISHMENT ACROSS THE STREET FROM A SIGN "ROTHSCHILD FIVE & TEN". THE ENTIRE FILM SHOWS HUNDREDS OF TIGHTLY PACKED PEOPLE ALL TRYING TO GET IN THE FRONT DOOR OF THE STORE AT ONCE. THEY ARE SO CLOSELY PACKED IT IS IMPOSSIBLE TO TELL ONE FROM ANOTHER. SALES RUSH
07:55:15 3279.67	A STREET ARAB EDISON, 1898 A BOY IS SEEN DOING BACK BENDS, HAND STANDS, HEAD SPINS, AND BACK HANDSPRINGS. HE IS DRESSED IN THE CONVENTIONAL ATTIRE OF A PRE-ADOLESCENT BOY OF THE ERA. THE ONLY OTHER OBJECT VISIBLE IN THE FILM IS THE WALL AGAINST WHICH HE PERFORMS.
07:56:00 3324.67	A CATASTROPHE IN HESTER STREET AM&B, 1904 FROM A SINGLE CAMERA POSITION, A SET OF THE FRONT OF A CONFECTIONERY STORE IS SEEN. A MAN STANDS IN FRONT OF THE STORE AND PEERS RIGHT AND LEFT DOWN THE STREET. TWO MEN, ACTING INTOXICATED, APPEAR. THEY ARE CARRYING BLASTING POWDER. AS A RESULT OF THEIR COLLECTIVE CARELESSNESS, THERE IS AN EXPLOSION. WHEN THE SMOKE CLEARS AWAY, IT IS POSSIBLE TO SEE PARTS OF BODIES ( DUMMIES ) LYING ABOUT. A POLICEMAN, ATTRACTED BY THE EXPLOSION, BEGINS TO ASSEMBLE THE PIECES AND FINALLY GETS ONE MAN PUT TOGETHER. STOP ACTION PHOTOGRAPHY WAS USED TO EFFECT THE TRICK ASSEMBLAGE.
07:57:52 3436	A "TOUGH" DANCE AM&B, 1902 TWO PEOPLE IMITATE THE CELEBRATED DANCE OF THE FRENCH APACHE. AS THE FILM BEGINS, A MAN DRESSED IN ROUGH CLOTHING APPROACHES A WOMAN, ALSO DRESSED IN TATTERED GARMENTS, WHO IS STANDING NEAR THE CENTER OF THE CAMERA POSITION. THEY BEGIN TO ACCENTUATE THEIR SHOULDER MOVEMENTS AND, AT THE END OF THE FILM, ARE HITTING ONE ANOTHER AND ROLLING ABOUT ON THE FLOOR. THE PARTICIPANTS WERE KID FOLEY AND SAILOR LIL, WHO CLAIMED TO BE THE CHAMPION PERFORMERS OF THIS POPULAR BOWERY DANCE.
07:58:32 3476.48	END