It's a demolition derby, as two giant industrial chimneys come crashing down to earth. Although this is dynamite footage, no explosives are used - the chimneys are shored up by pit props which are then set aflame. The scurrying figures from the base of the chimney in the first scene offer a real sense of the scale of events.
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White’s camera offers several 360-degree pans of views of the fairground, then amazes by tilting up and down the Eiffel Tower, and concludes with a stunning tracking shot to the highest point above Paris.
This picture shows the remains of one of the docks, several freight cars being piled one upon the other, while the most interesting part of the picture shows two schooners literally smashed one into the other, forming a most picturesque mass of wreckage.
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.
Marguerite is seated in front of the fireplace, Faust standing by her side. Mephistopheles enters and offers his sword to Faust, commanding him to behead the fair Marguerite.
In a charming dining room a very attractive young lady is seen seated at the table, evidently waiting for the caller who is to share a quiet little dinner for two.
A dramatic scene - and exactly what moving pictures were invented for. With a fixed camera and without a traditional narrative, this film nevertheless tells a compelling story as a cast of men and boys fight an impending crisis.
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