Robert W. Paul

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

A barber cuts heads off Negro and white customers, who then dismember him.

A satire on the way that audiences unaccustomed to the cinema didn't know how to react to the moving images on a screen - in this film, an unsophisticated (and stereotypical) country yokel is alternately baffled and terrified, in the latter case by the apparent approach of a steam train.

The surf pounds against a breakwater on which are visible several people standing. The wall looks to be about 20 feet above sea level and extend at least 100 feet into the water. A large wave rolls picturesquely along the wall toward the shore. Smaller waves follow. Then the scene changes to river water flowing. We see both shores: in the foreground a log and tree branch are visible; on the far shore, there appears to be a low wall with trees beyond it. The camera is stationary in both shots.

A man strolling in a city street is attacked by three assailants. A policeman comes to the rescue and the men struggle with each other.

The scene is a railroad track on the side of a steep mountain, with a tunnel in the background, toward which a train is running at a high rate of speed. At this instant the audience is appalled at the sight of a second train rushing out of the tunnel. Both trains are on the same track and traveling toward each other at a high rate of speed. They collide. Cars and engines are smashed into fragments and thrown down the steep incline. (Edison Catalog)

A playful variation on A Soldier's Courtship, producer Robert W. Paul's smash hit from the previous year, this film spies on a young man trying to tease a kiss from a young girl doing the washing at a tub. For his efforts, the man receives a dunking in the tub himself and much hilarity follows.

A short documentary about industrial whaling. The surviving footage runs for approximately 12 minutes.

An old proprietor is startled and haunted by the strange happenings inside his curiosity shop.

A stationary camera looks on as two dapper gents play a game of chess. One drinks and smokes, and when he looks away, his opponent moves two pieces. A fight ensues, first with the squirting of a seltzer bottle, then with fisticuffs. The combatants wrestle each other to the floor and continue the fight out of the camera's view, hidden by the table. The waiter arrives to haul both of them out.

A barmaid plies a swell with smiles and with cherries from a box that's just been delivered. When she refuses a cherry to a roughly-dressed tradesman who runs a tab at the bar, he pays off his debt in a huff, using all his week's pay. He then storms penniless and without provisions into his ill-furnished house where his wife and two children, ill-clad and ill-fed, cower. Is there any hope for him and for his family? If he does realize how low he's sunk, what help is there to lift him up? Will the family ever know the taste of cherries?

The opening of the Kiel Canal in Germany by Kaiser Wilhelm II on 20 June 1895.

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?

The festive start and disastrous aftermath of the launch of the H.M.S. Albion.

Come Along, Do! is an 1898 British short silent comedy film, produced and directed by Robert W. Paul. The film was of 1 minute duration, but only forty-some seconds have survived. The whole of the second shot is only available as film stills. The film features an elderly man at an art gallery who takes a great interest in a nude statue to the irritation of his wife. The film has cinematographic significance as the first example of film continuity. It was, according to Michael Brooke of BFI Screenonline, "one of the first films to feature more than one shot." In the first shot, an elderly couple is outside an art exhibition having lunch and then follow other people inside through the door. The second shot shows what they do inside.

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.

A jovial looking man is seated nearest the window of a restaurant. He has just finished his meal and the waiter brings a glass of beer, and when he places the glass upon the table, lo, a little sailor boy about six inches high appears from the foam, and climbing down the side of the glass, proceeds to dance a sailor's hornpipe on the table.

A husband rushes for a doctor and his wife has triplets.

Japanese pose as coolies, blow up a train, are caught and shot.