In The Great Mine Disaster (Au Pays des ténèbres) (1912), every man who meets the woman played by Cécile Guyon swoons over her. But it is not obvious why, since there are no close-ups (other than the pathetic intro mugs). That didn't get fixed until Max Linder's Max Speaks English (1913), where Guyon's photogenic charms steal the show from Linder.
Yes - the defendant pleads guilty to the charge of first-degree schoolboy crush on images of someone who has been dead for over 90 years. But does that really lessen his standing as a fearless upright soldier in The Great War against gender commoditization? Could it be that he is merely hopelessly trapped in Belle Époque ideals of feminine charm (aka, "sucker for a cute smile")? Or is this the first fiendish sign of a budding necrophilia? The defense presents exhibits A through F: you be the judge.