George Albert Smith Films

A man attempts to shave with a blunt razor.

A romantic couple are transformed into skeletons via X-Rays. The film combines two very recent innovations: Wilhelm Roentgen's discovery of X-rays in 1895, and Georges Méliès' accidental realisation of the special-effects potential of the jump-cut in 1896.

Satan conjures a vision of a girl, for whom an old man signs a pact and is made young. This is a lost film from George Albert Smith

Possibly the first film to utilize the technique of focus pulling. A man kisses a beautiful and lively woman, then the image blurs and dissolves into a clear image of the man waking up to his nagging wife.

A simple scene of two rather flamboyantly-dressed Edwardian children attempting to feed a spoonful of medicine to a sick kitten. The film is important for being one of the earliest films to cut to a close-up, then back again to the same medium shot as before.

Mary Jane tries to light the oven. When she's unsuccessful, she plays around, getting black boot polish on her face. She mugs before a mirror. Then, it's back to work. When the stove still won't light, she pours in paraffin, winks at the camera, and lights a match. Kaboom! Is there any rest for the foolish, even in the grave?

Produced and directed by George Albert Smith, the film shows a couple sharing a brief kiss as their train passes through a tunnel. The Kiss in the Tunnel is said to mark the beginnings of narrative editing. It is in fact, two films in one, hence the 2 min length. Firstly, the G.A. Smith film here for the central cheeky scene in the carriage. The train view footage however is Cecil Hepworth's work, entitled 'View From An Engine Front - Shilla Mill Tunnel', edited into two halves in order to provide a visual narrative of the train entering the tunnel before the kiss and then leaving afterwards. More information about the filming of the phantom train ride can be found searching for the Hepworth film separately.

Santa arrives at a house on Christmas Eve to deliver his presents for the children.

In front of a flour mill, two men fight. One is the miller, and he's swinging a bag of flour in the scuffle. The other is a chimney sweep, and he's swinging what may be a bag of flour, but when it breaks open, it's clearly something else. Well into the havoc, spectators gather and give chase to the flour-covered sweep and the "well-sooted" miller.

An adaptation of the folk tale.

A butcher's crew make sausages from dogs and cats and old boots...

Girl dreams of Dick Whittington, Robinson Crusoe, Forty Thieves, Aladdin, Cinderella, Bluebeard, and Red Riding Hood.

A male and female clown drink, smoke, and flirt in this early Kinemacolor short.

George Smith's picture of the crowds out for a stroll on what I imagine is Brighton Pier.

Man pulls out bad tooth, which is then shown in closeup.

Most movie fans know that the first filmmakers liked to shoot trains entering stations. This example by Sussex film pioneer George Albert Smith illustrates why. The train's rush towards the audience brings movement and visual drama. The flurry of human activity offers plenty for the audience to engage with - who are these people and where are they going? And the time pressure exerted by the fact that the train must soon depart adds narrative tension - will everyone get on and off in time?

An elderly gentleman in a silk hat sits on a stool in front of a store on the main street of town. He has a telescope that focuses on the ankle of a young woman who is a short distance away. Her husband catches the gent looking. What will the two men do now?

A child borrows his grandmother's magnifying glass to look at a newspaper ad for Bovril, at a watch, and then at a bird. The child shows grandma what he is doing. The child looks next at grandma's eye, then at a kitten.

An old spinster receives an unexpected Valentine's letter.

Lovers are comically interrupted