How will we meet? First, we must have patience and know its true value in the first titles to better appreciate the evolution of Paul behind the camera. The first piece is the aforementioned Rough Sea at Dover (1895, pictured), a fixed camera view of rough seas pounding the coast, a piece that will undoubtedly have an opening character. Later would roll A Sea Cave Near Lisbon (1896), where the cave in which the camera is placed also serves as a picture frame set by the water of the sea. Other films of an documentary facing their target from a prone position with a fixed camera to achieve a great perspective. This is the case The Derby (1896), who filmed this sporting event and social event of national collecting the arrival of horses to target and assault the crowd back on track. In Hyde Park Bicycling Scene (1896), from a similar perspective is reflected continuous passage of cyclists and carriages in Hyde Park. That same year, are pieces that depict the passage on bridges, as Blackfriars Bridge (pictured below) or Westminster Bridge. Same perspective takes Scene on the River Thames, or Up the River (1896), although in this case the passage of a boat on the river complete with a scene of rescue and some confusion. From another position in Royal Train (1896), covers the train to the royal family and many flocked back to the camera to view, stopped by a row of guards, with their distinctive hats pomp. 
Paul typical space is repeated with little variation in the movies based on popular songs that recreate the story told in his letters. So Come Along Do! (1898), based on the song of the same title, enacts the story of two old men who decide to go to an exhibition and there are made to dress the naked sculptures.
Other domestic comedies put on a woman with her husband or a man who haunts, scenes that often make a nod to a social context marked by feminist demands. In 2 AM, or The Husband's Return (1896), a woman tries to put in place a husband who comes home drunk. In Cupid at the Wash Tub (1897), a man wants to kiss a woman while she washes the clothes, but she scores well in the situation to the man's head submerged in water. The character "feminist" is still better His Brave Defender (1900). Here, a burglar enters through the window and catches a couple in bed. While the husband is hiding under the sheets, and then under the bed, his wife attacked the thief, but it only makes the tying runs at the foot of the bed, which will be released by "her daughter? and a policeman. The feminist touch, very sarcastically, is fully evident in Artistic Creation (1901), where a woman is taking shape from the successive drawings which creates a magician, once built, the wizard thought to lack the final touch: a baby in her arms, but the woman had managed to flee in time. To address the issue, there are rudiments of animation (this time for stop-motion) and tweaks, with whom he has flirted in A Railway Collision (1900), where a train collision is represented with a model trains and visibly toy.
A hot topic at the time, spiritualism, and his claim as a farce, Paul serves on several titles to experiment with the trick. So in Upside Down or The Human Flies (1899, pictured), before the start of the seance, the organizer disappears and makes the guests end up walking through the roof. A reverse camera and a painted decoration in the best position to contribute to this effect see the actors moving upside down, many years before Fred Astaire dancing on the walls and ceiling in Royal Wedding (1951), Stanley Donen . It will be one of the first pieces in which Paul will produce films whose main author is Walter R. Wizard Booth.
Tweaking And obviously, as in the case of Méliès, but also Porter for Edison or Chomón for Pathé, will take to address issues of fantasy and science fiction. So in The Cheese Mites, also called Lilliputians in a London Restaurant , 1901, a man, affected by what you eat, have a strange sight: he sees a series of tiny beings in the table. In The Over-Incubate Baby , the same year, a scientist has created a machine for an hour a baby becomes a child of one year, a rookie apprentice scientist causes a failure in the machine and a small fire , from which a child with a beard. Also in 1901, is a fantasy comic film within a film, entitled The Countryman and the Cinematograph (1901, pictured), similar to Uncle Josh's Nightmare (1900), Porter, film partially lost, which shows a man who does not know what film looking at the pictures too close to a screen. First make fun of a dancer, but then the approach of a train in the direction he just scared and confused later to see himself flirting with a woman.
An amazing experience is certainly Undressing Extraordinary (1901), the nightmare of a man trying to undress, but over and over again to be dressed with many different costumes. When it gets to stay in bed gown appears in a skeleton becomes chair, to go to bed, it disappears and he is back with a suit. The bed is being rebuilt with another hallucination. The same actor, this time disguised as a magician, protagoniaza The Waif and the Wizard (1901), a title which, in addition to the efficacy of the trick, has a special plane, an umbrella just serving as a transition between the meeting beggar with a child magician to ask him to help heal his sick sister and the stage of healing. The umbrella is the child transformed into that object to teleport next to the magician, but also, as shown, is an effective narrative tool assembly. I remember that we are in 1901.
At this point, the dvd starts to happen more and more sophisticated fantasies, some with literary roots. Thus, The Haunted Curiosity Shop (1901) reminds his title British viewers to Old Curiosity Shop by Dickens, but not more than a succession of transformations different ending with a haunting phantasmagoria. More connected to the territory Dickensian is the first adaptation of Christmas Carol entitled Scrooge, or Marley's Ghost (1901), with a large domain transparency. But I have a great use of transparencies and tweaks The Magic Sword (1901, pictured), where a fairy gives a magic sword for a knight to rescue his beloved from the clutches of a giant. Superb fairy medieval atmosphere.
The magic is also present in A-Day Quarter Lively (1906), as a solution to the problems that they face a few characters to decorate a room. A wizard helps with their gear to perform this task. A funny detail is the magician's clothing going alone to the closet, while he was lying in bed preparing to sleep.
One of the major titles within the Paul's productions A Chess Dispute (1903). Despite the title, chess players do not fight at the board, but on the floor and clean punch. Stated thus, it might seem in line with other similar disputes, "card games" various coffee or brawls, a recurrent theme in the pioneers. The novelty here, which gives great value and some modern film, is that most of the fighting takes place outside the field, with fleeting appearances of rivals that gives us an idea of \u200b\u200bhow the confrontation. Great wisdom 
film also have a series of films that combine effectively with studio-filmed scenes outside the British streets. The moral drama Buy Your Own Cherries (1904) and make that intention in that game, though curiously is shot all inside, including "outside." Chronicles the evolution of an alcoholic father who manages to stop drinking on advice from the Church, which also improves the environment and the prosperity of his family. It gave a number of different environments, reflecting the state of the characters and were intimately tied to their situation. Dramatic play different environments was also in Mr. Pecksniff fetches the Doctor (1904), about a doctor who is late for delivery. It included some exterior scene real, although it was essentially a reworked interior film. The main street itself would be part of a movie with great staging as An Extraordinary Cab Accident (1903), where a man is hit by a cab while crossing the street when everyone thinks you're dead, up and flees with his beloved. The inside-outside combination, this time both real spaces, there is finally comedy The Unfortunate Policeman (1905). After a joke, shot in a set that represents a jewelry-watches, on the outside (ie, is a false shot in study abroad, see photo below), a cop goes in pursuit of the painter joker and his step, the police demolished the casting of two washers, coils and encounters an old woman with a milkman, who follow him and end up giving him a beating.
A film that refers to the same time with this quest for dialogue between spaces, with fantastic side and also with the complaint of spiritualism is Is Spiritualism a Fraud? (1906). Here, the organizer of the session with the help of a foreign subsidiary to get to those attending the session, and before us, a series of spectral images of great impact. One of the attendees away with the illusion to turn on the light and wonder to aide in full trick. The phony organizer session is bound and vilified in the street. Indoor real (well, with the idea of \u200b\u200bseeming) spectral interiors, outdoor ... It would be a good overview of Paul's film, but it was because that year was The? Motorist whose visual strength overwhelms almost everything. The
? Motorist (1906) begins as a chase movie with police following the offender, in this case a motorist and his partner go too fast. In his escape, the biker with his car up the facade of a building and passes through the city sky, the moon comes up and goes through the rings of Saturn (picture on the cover of the dvd). Returning to Earth, crosses the room where a trial takes place and is about to be arrested by the police, when their vehicle becomes briefly in a horse carriage. Turned back on a bike, the offender and his beloved return to flight. A frenetic film full of fantasy that combines reason, gaffs and other areas targeted in his productions.
remains an encore on the DVD. It was the last movie was Paul, but the last of which are preserved. Minted in 1908, the year in which they are pulling many European film, but in which the British are on the verge of the abyss, after being one of the leaders of pioneering cinema Whaling Afloat and Ashore (1908) is a serene and accurate documentary on the capture and subsequent cutting of whales. The capture is done with a camera adapted to the vagaries of sailing. Then, once captured, the impact of the dimensions of the great whale chairs the screen to make way immediately after a careful monitoring of industrial process plants, without forgetting the human and social side who performed with between whalers caught dancing (all men) and their amusements, sack races and other games.
As stated in the DVD commentary, the film moves forward a few decades the British documentary. It is true, as is also that many of parts that houses the DVD are related or are initiators of technical and thematic aspects of the diverse film pioneers laid the foundations on which in the decades of 1910 and 1920 he built the cinema, both in the documentary field, as in the structure of comedies and dramas, as well as visual imagery of fantasy. Some mischievous kids, a motorist passing Saturn, a whaler tearing an enormous whale, a policeman beaten, two players fighting away from the camera, a woman fleeing her mother's role tax or a man trying to get rid of their costumes, including others, contributed.
