King Edward VII's coronation ceremony.

Georges Méliès's first attempt at Cinderella was in 1899. That film was extraordinary then for having multiple scenes and a semblance of a narrative; additionally, the use of dissolves as transitions in it influenced other filmmakers for years to do the same. Méliès was the cinema world's preeminent leader then. By 1912, however, that was no longer the case; frankly, as evidenced by this feature, his style had become dated. Moreover, Méliès had begun to adopt techniques from other filmmakers, such as direct cuts instead of dissolves, and there's even a match on action shot during the slipper trying-on scene.

The scene opens in an artist's studio where the unfinished statue of William Tell stands upon a pedestal. A clown appears and sticks a clay arm and clay head on the statue, thus completing it. He places a large brick on top of the head to make it stick. When he turns his back the statue turns into a living representation of William Tell. (Edison Catalog)

Professor Barbenfouillis and five of his colleagues from the Academy of Astronomy travel to the Moon aboard a rocket propelled by a giant cannon. Once on the lunar surface, the bold explorers face the many perils hidden in the caves of the mysterious planet.

A wizard sleeps at a table in his well-appointed sitting room. From a drawer in the table, a snake appears.

A juggler enters upon the scene, picks up a skull, throws it into the air, catches it in his hands, where it is transformed into a handkerchief. The handkerchief, after being twirled about a wand, is changed to a napkin, and afterward to a tablecloth. Out of the table cloth comes a servant.

A man has an encounter with several spooky apparitions in a castle that is evidently owned by the Devil.

A fairy godmother magically turns Cinderella's rags to a beautiful dress, and a pumpkin into a coach. Cinderella goes to the ball, where she meets the Prince - but will she remember to leave before the magic runs out? Méliès based the art direction on engravings by Gustave Doré. First known example of a fairy-tale adapted to film, and the first film to use dissolves to go from one scene to another.

A devil wearing bat-like wings and brandishing a trident dances around a giant pot, conjuring forth flame from his trident to lit a fire beneath the pot. After the devil works the fire with bellows, an angelic woman emerges from the pot. The devil and the pot vanish as the woman performs a dance, waving about her diaphanous sleeves until she conjures forth another fire, then she rises amongst the smoke into the air.

A woman arrives home after the ball. Her servant helps her undress and bathe.

A young woman becomes the eighth wife of the wealthy Bluebeard, whose first seven wives have died under mysterious circumstances.

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.

A divinely inspired peasant woman becomes an army captain for France and then is martyred after she is captured.

The film, a parody of the novel Twenty Thousand Leagues Under the Sea by Jules Verne, follows a fisherman, Yves, who dreams of traveling by submarine to the bottom of the ocean, where he encounters both realistic and fanciful sea creatures, including a chorus of naiads played by dancers from the Théâtre du Châtelet. Méliès's design for the film includes cut-out sea animals patterned after Alphonse de Neuville's illustrations for Verne's novel.

A priest is officiating at a convent, when suddenly he is transformed into the devil, who frightens away the nuns and turns the place into pandemonium.

Using every known means of transportation, several savants from the Geographic Society undertake a journey through the Alps to the Sun which finishes under the sea.

The picture opens with the Sultan lying down to rest on his luxurious cushioned couch. The scene changes to the grounds around the palace.

A lost film. A man digging inside an Egyptian tomb chops up a mummy, then resurrects the woman inside it. This film is presumably lost.

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)

One of the greatest of black art pictures. The conjurer appears before the audience, with his head in its proper place. He then removes his head, and throwing it in the air, it appears on the table opposite another head, and both detached heads sing in unison. The conjurer then removes it a third time. You then see all three of his heads, which are exact duplicates, upon the table at one time, while the conjurer again stands before the audience with his head perfectly intact, singing in unison with the three heads upon the table. He closes the picture by bowing himself from the stage.