Works featuring "extended incident" (36)

Attack on a China Mission

A short reenactment of a Boxer attack. Full description from BFI at http://www.screenonline.org.uk/film/id/520615/index.html

Stop Thief!

Thief steals, boy and dogs chase. All end up in a barrel. Ends abruptly, as if ending was lost. One of the earliest known surviving chase films, it's a good film to show critics that claim that movies have degenerated into gratuitous violence: this shows violence was there from the beginning. Strips the dude's clothes off, and then goes down to the mud to wrestle with him - kinda kinky...

Fire!

Read the title - that's all you need to know.

Note the exclamation point (also in the title of the other Williamson film that was shown with this one: Stop Thief!). These titles are shouting and, though short, their feeling is strong.

This is one of the most influential of surviving early action films, and it is easy to see why: it begins in a blaze and the momentum never eases. Cutting from the blaze to the approaching fireman and then back again, the film solidly establishes the drama of rescue - a drama device whose popularity still shows no sign of decline.

Was remade for Edison as Edwin S. Porter's (less exciting) 1903 Life of an American Fireman, which led to Porter's 1903 blockbuster The Great Train Robbery.

Life of an American Fireman

Prelude to 'The Great Train Robbery. Modeled after (but not as exciting as) Williamson's 1901 'Fire!', but the pre-classical instant replay of the rescue (providing both inside and outside views) can seem delightfully offbeat, even avant-garde, for modern viewers accustomed to the classical cross-cutting approach.

A Daring Daylight Burglary

One of the models for 'The Great Train Robbery'and 'The Bold Bank Robbery'. Also provides an early taste of the police procedural, in the form of a detailed rendering of emergency medical assistance for the injured policemen (a digression that, regrettably, breaks the pace of the chase).

Desperate Poaching Affray

'Alas, my hat...'. Desperate, gun-toting, upper-class posse chases desperate, gun-toting, hat-fetishist poachers.

Pioneering, popular, and influential, this is a fast-paced no-frills thriller. Fight scenes are not the stylized choreography of today, but rough-and-tumble brawls more suitable to men who are “desperate”.

The one distraction comes from one poacher's hat, that naturally takes flight in its own direction. Instead of leaving it behind, as his partner wisely did, the poacher repeatedly pauses from his flight to recover his beloved hat - leaving audiences with a clear message: crime in hats doesn't pay.

The Child Stealers

Some kids are snatched, one is rescued, the rest - who knows, who cares?

Raid on a Coiner's Den

After an intriguing emblematic shot, the coiners are shown hard at work, though at least one is a bit jittery. His fear turns out to be a premonition, as the heat swarms in while the coiners are out. Strangely, the leader of the raid then trades in his supervisory role to go undercover in the den. But when he tries to make the arrest, he shows us why he should've stuck to supervising, as he botches the raid by letting the coiners get the drop on him.

That was an exciting plot twist, but the film failed to build upon that tension, and instead rushes to wrap up the whole affair (via a chase that's almost too brief to be called that) just two minutes later. Promising start but no delivery, so we're left with a botched film about a botched raid on a coiner's den.

Personal

After a personal ad for marriage by 'young wealthy gentleman' results in him being overwhelmed by respondents, he panics and flees with the women in pursuit.

A Railway Tragedy

A petty crime that quickly escalates...

Revenge!

This revenge is not so sweet - quite nasty, in fact - showing that producers learned early that exploiting human fascination with viewing violence can be profitable.

1904 seems to have been the year that the fledgling film industry made an important but unheralded discovery: audiences also like to root for outlaws - even when they know those outlaws are doomed to fail.

Just look at Revenge, and compare it with another crime film by the same director, released just ten months earlier: The Pickpocket. Although the titles might lead one to believe The Pickpocket is a character study while Revenge is not, actually neither reveals anything about the protagonist.

But although both begin with commission of the crime that sets off the action, nothing in the portayal of the pickpocket garners audience sympathy for the outlaw or his crime. On the other hand, the protagonist of Revenge is shown committing his crime as a victim of betrayal, his life ripped apart by those in power and authority. Finally, the film industry had tapped into an archetype that cinema audiences never seem to tire of identifying with: the protagonist who feels wronged by the powers that be, so sets out for to make things right by slaughtering everything in sight.

How a French Nobleman Got a Wife Through the 'New York Herald' Personal Columns

Frenchman places personal ad for marriage, overwhelmed by respondents, panics and flees with the women in pursuit. Remake of Biograph's 'Personal'.