A green-skinned demon places a woman and two courtiers into a flaming cauldron.

A fine magician of the Royal Court materialises an elegant attire from a transparent glass container, and then, a refined dandy appears, as an ornate palanquin is summoned. Now, what does the illusionist have in mind?

This lost film presumably features a train arriving at Vincennes station, eastern Paris. (Until 2020, was confused with Arrival at Joinville flipbook.)

Charles Urban

Two travellers are tormented by Satan from inn to inn and eventually experience a buggy ride through the heavens courtesy of the Devil before he takes one of them down to Hell and roasts him on a spit.

The German legend of a scholar's unholy pact with the Devil would have been very familiar to most moviegoers (at least European ones), so Georges Méliès' early cinematic treatment likely got away with simply offering a fancifully illustrated late episode without the earlier narrative context (however, spoken narration provides some of the latter in this restored print). Tempted by Mephistopheles with all kinds of dancing and ethereal babes, Faust is at first excited and then terrified by the sight of various demons and monsters. The painted-set designers really went hog wild on this one, depicting the (sometimes sexy) torments of subterranean Hell with in bold terms (even when ballerinas prance in the foreground). (Dennis Harvey, Fandor)

A man needs to get to Monte Carlo from Paris, but finds out that a train will take 17 hours to get there. He decides to go with a man with a special car, who claims that he can get there in just two hours. Complications ensue.

A colonel in the military receives an unorthodox shower, an unorthodox shower indeed!

A man in a silk top hat stands in front of an empty aquarium. He pours water into his hat and goes fishing, hooking a small one. He bec omes a hobo and catches more and more fish from the hat. Then he starts pulling out rabbits. The backdrop becomes the sea, and a mermaid appears. She flirts and beguiles us. The mermaid becomes a woman who leaves the sea and joins the magician, who becomes Neptune. (FROM IMDB: Written by <[email protected]>)

Into a photography studio full of large fantastic machines steps an elderly couple. The bearded proprietor explains the equipment and gives them a demonstration: he starts machines whirring, and projects a painting of three women onto a large screen; suddenly the women begin to move. The customers are impressed. First the women sits in the special seat: she's projected onto the screen, and her good nature comes out in the laughing image. Then it's the man's turn, but the machine discloses a vastly different nature in him. Will his reaction threaten our proprietor's inventions?

乔治·梅里爱的第一部影片。

Here we have an old scholar/alchemist brooding over a book, challenged by the devil, and going through the familiar sorcery to create a woman by throwing pieces of clothing against a stain-glass church window, like a jigsaw puzzle (and later in reverse). The woman also multiplies herself five-fold so as to match a similar paravent.

Georges Méliès' adaptation of Jonathan Swift's "Gulliver's Travels" is most distinguished, today, for being a color film of the classic story. Color was rare in 1902 (and many years after) as non-tinted color has to be hand painted on the film; this was an arduous task. Also notable is the film's short running time of approximately five minutes. Much of the original work is not covered, but viewers were expected to be familiar with the story, and enjoy the filmed highlights. There are a couple of scenes missing; according to contemporary reports, Gulliver's shipwreck was certainly included. You can do a lot in a few minutes, as Mr. Méliès includes a re-make of his own "Une partie de cartes" (1896), which already looked like something previously covered by the Lumière Brothers.

An early horror treatment of the hero's encounter with the one-eyed man-eating Cyclops.

Faust and his love Marguerite are sentenced to Hell where they are showed the torture that awaits.

一伙亡命徒袭击农庄，抢掠金钱，火烧房屋，随后扬长而去。亡命徒们回到老巢赌钱享乐，正因赌资争论之时，闻听警察袭来，慌忙收拾细软，四处逃窜。随即警察破门而入，与残余匪徒展开激烈格斗，双方互有伤亡。亡命徒的首领（Georges Méliès 乔治•梅里爱 饰）从后山逃脱，警察在后面穷追不舍，最终匪首被埋伏的警察抓获。 在监狱的数周里，匪首每天都被死亡的噩梦所折磨，痛苦不堪。终于他迎来审判的一天，神父走进牢房为他祈祷，警察则公布了执行令，等待匪首的只有冷森森的铡刀……

The film begins with a grandmother reading a story to a small child (played by Georges Méliès's son, André) before tucking him into bed. No sooner has the mite fallen asleep than he begins dreaming of an angel standing over his bed and whisking him off to a land of giant toys. The kid wanders around for a bit before being led away by a lady who takes him to a forest where other young ladies dressed as butterflies dance around a bit.

一出歌剧的男主角正在熙熙攘攘的咖啡馆里悠闲地喝茶，突然发现演出时间将至，连忙结账，却慌张中撞翻了旁边的桌子，走到外面更将两个小贩的摊子撞翻。为了赶时间，他租了路旁的汽车，司机好半天才将车子发动起来，然而却被警察以疏通交通的名义拦截。男主角只好拦截了另一辆车，风风火火赶往剧院。好不容易抵达剧院，他一路飞奔，撞翻了检票人、剧务和其他演员，匆匆赶入化妆间，在剧场经理和演员们的聒噪催促中手忙脚乱换上衣服，周围人的吵闹令男主角的心情烦躁，他大发雷霆，将众人赶出房间，经理也在紧张的准备之后瘫软在地……