“And cinema is everywhere.” Celebrating the 100th Birthday of Pathé-Baby

Programme curated by Brigitte Paulowitz, with films from the Fondation Jêrome Seydoux-Pathé, the Cinémathèque Suisse, and Lichtspiel/Kinemathek Bern.

This year we celebrate the 100th birthday of one of the first successful amateur film formats, 9.5mm, familiarly known as “Pathé-Baby”. Advertised with the slogan “Le cinéma chez soi”, it was introduced by Pathé in 1922 to bring films into the homes of everyone, and thereby prove that film was as serious an art form as, for example, painting. Small, compact, and solidly constructed, the hand-cranked Pathé-Baby projector was easy to use, showing films contained in enclosed metal cassettes. And having arrived in the living rooms of the bourgeoisie with a big selection of professional productions available from the substantial Pathé back-catalogue, it was a small step to encourage the families to document their private lives via amateur filmmaking, as 9.5mm was also safety film.
The Pathé-Baby filmathèque, as the booklet was called from which people could choose the films they wanted to either rent or buy, later became a source for silent-film lovers. And as Kevin Brownlow’s career proves, it turned some of them into film historians, restorers, and curators. The several editions of this catalogue are an absolute treasure trove, and there are still films that are only available in 9.5mm today. We learned new things even while preparing the films for this year’s Giornate festival, so that sometimes the year on the newly created title cards of the digital elements turned out to be incorrect. It is our hope that this year of celebration is only the beginning of more research into this golden format.
To show at least a small part of what was available for home viewing, we decided to concentrate on some peculiarities in the catalogue, the few stencil-coloured films. Needless to say, the stenciling is at places cruder than what we have seen on 35mm, and the colours seem to stick to the usual blue, green, yellow, rose, and red. Considering the image size of 6.15mm x 8.2 mm, though, it is actually quite precise. According to a list compiled by the late British expert and collector Grahame Newnham, 21 such titles in all were made, almost all of them published in October 1923. We also came across some tinted titles, where the film material was most likely pre-tinted, and where the catalogue never did indicate the colour. And because French animation is also an important part of 9.5mm, we decided to present some of those titles, too.
Another specialty of the format is that not only were the films re-named, re-edited, and cut down to save film material, but in addition the running time of each film was cunningly extended by an ingenious system of “notched” titles (titres encoches). A notch cut in the edge of the film, 2 frames before a title, allowed a tiny sensor roller (called a “scroll wheel” or “molette” in the original instructions) to engage with the notch, triggering a mechanism that withdrew the intermittent transport claw just long enough to enable the reading of the title, which was printed on a single frame. The arrangement could be extended, sometimes up to 4 frames, to allow more time to read a longer title. The operator continued cranking for a further 7 seconds (the cranking speed was widely variable at the operator’s discretion), and the withdrawn mechanism continued to operate until the geared notching device completed its cycle and re-engaged the claws with an audible click, which also reset the “molette”, ready to detect the next notch, and the film continued its way through the gate. Sometimes this notch system was also extended to image frames; depending on how many “freeze-frames” were involved, a 50-second film could run 3 minutes; one such film even lasts 11 minutes. Static scenes could be treated in the same manner; some early documentary 10-metre cassettes could run as long as 3-4 minutes.
This system also meant that both the light source and the projected image could only be small. The projector had a 6-volt, 6-watt bulb, powered from a 110-volt mains supply, so a quite reasonably illuminated picture, about 2 feet wide with good definition, could be obtained at a short distance or “throw” – ideal in a room of modest size, without the risk of damaging the film with the heat of a more powerful lamp.
For our digital restorations, all three institutions have produced freeze-frames of different lengths, to make the titles easier to read and view, rather than strictly following the rules of how the title system originally functioned. It is generally acknowledged that the print quality of notched-title films was often superior to those 9.5mm prints with running titles, especially some of the later releases after the mid-1930s, when master material and laboratory procedures might be compromised.
Huge thanks to Stéphanie Salmon, Anne Gourdet-Marès, Elvira Shahmiri, Caroline Fournier, and Murielle Vergères for their dedicated research and work on this programme. And, in Britain, for explaining more about the technology, especially how the notched titles worked, to Kevin Brownlow, Patrick Moules, compiler and editor of The 9.5mm Vintage Film Encyclopaedia, finally published in 2020, and devoted nine-fiver David Wyatt, whose original research for the book with his assiduous co-author Garth Pedler across the decades was a labour of love for all concerned.

Brigitte Paulowitz

Pathé-Baby films in Pathécolor

In 1908, Pathé set up a mechanical colouring process for its films under the name Pathécolor. Thanks to machines designed by Jean Méry, stencils were cut electrically and then used to colour prints in serially. This high-precision device offered almost perfect colouring, with minimal overflow. The launch of the Pathé-Baby in 1922, as well as that of the Pathéorama still-image viewer one year later, appears to have represented a possible way for the firm to increase the activity of its colouring workshop. The first catalogue of Pathé-Baby films in October 1922 offered no titles in colour, but the colouring of 9.5mm strips gradually expanded from September 1922 under the supervision of Marcel Mayer, who was then the director of printing at the Joinville-le-Pont factory, and was responsible for testing the commercial potential and quality of the Pathécolor device as applied to Pathé-Baby films. Since mechanical colouring requires absolutely stable prints, he recommended printing the 35mm Pathé-Baby master strips on special printers with extendable claws, which was slower but highly efficient. To make the system profitable in terms of saving both time and personnel – Pathé was then using Taylor’s work methods – the cutting of stencils was carried out on two superimposed strips. After a few months of testing, colouring Baby films seems not to have proven itself. In March 1923 Marcel Mayer stated, “in spite of all the improvements that have been made, and of the attempt to make this project as effective as possible, colouring Pathé-Baby film does not seem to me to be ready yet; I think it will be difficult to obtain a general colouring of all subjects, which gives us a very limited field.” More than the cutting, it was the colouring stage that was delicate, owing to the diminutive size of the images; this did not allow for any colour offset without the risk of excessive overflow visible on the screen. On 1 October 1923, the engineer Vilatte stated that the five machines used for cutting Baby stencils had been shut down for lack of orders.
In all, a total of 21 Pathé-Baby films were printed in colour. The choice of titles appears to have been made according to three categories: films with scenes on black backgrounds, which made colour overflows invisible, such as Miss Flutter and La Création du Petit Monde, both adapted from Métempsycose by Zecca or Chomón (1905), as well as Le Lis du Japon, Le Papillon Machaon and Gladiateur combattant; cartoons, whose sharp outlines could be advantageous (La Colombe et la Fourmi or La Belette entrée dans un grenier), although this was not successful; and – apart from Le Bon oncle and La Tartine, which were fictional shorts adapted from Luitz-Morat’s Petit Ange (1923) – other titles mainly drawn from Pathé-Revue documentaries. While some titles only appear once in the catalogues, such as Récolte des pommes or La Pluie de feu, or are never even listed as coloured, as was the case with La Belette entrée dans un grenier, other coloured films punctuate the catalogues during the 1920s and 1930s, such as Toilettes du soir, Trouville, la Reine des Plages, Gladiateur combattant or Miss Flutter and La Création du Petit Monde. We may thus wonder whether the longevity of some titles was due to the distribution of stock produced during colouring tests or whether there were attempted reissues depending on the success of certain subjects.

Anne Gourdet-Marès

Note filmografiche a cura di / All film notes in this programme by Catherine A. Surowiec.

LA BELETTE ENTRÉE DANS UN GRENIER (FR 1923)
Pathé-Baby no. 424. anim: O’Galop [Marius Rossillon]. uscita/rel: 10.1923. copia/copy: DCP, 3’05”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Cinémathèque suisse, Lausanne.
Animation. Story adapted from La Fontaine’s Fables. A greedy weasel squeezes into a granary through a hole in the wall, gorges himself, and cannot get out again until he loses weight.
Adattamento da/Adapted from LA BELETTE ENTRÉE DANS UN GRENIER (FR, c.1913)
anim: O’Galop [Marius Rossillon]. adapt: dalla favola di/from the fable by Jean de La Fontaine. prod: Pathé Frères.

LE BERNARD L’ERMITE (FR 1923)
Pathé-Baby no. 286. uscita/rel: 10.1923. copia/copy: DCP, 2’33”, col. (da/from 9.5mm, imbibito/tinted); did./titles: FRA. fonte/source: Cinémathèque suisse, Lausanne.
Popular Science/Natural History film about the Hermit Crab.
Adattamento da/Adapted from
LE BERNARD L’ERMITE (FR 1921)
prod: Pathé.

BIARRITZ. LA CÔTE D’ARGENT (FR 1923)
Pathé-Baby no. 494. adapt (9.5mm): Mlle. G. Jousset. uscita/rel: 10.1923. copia/copy: DCP, 2’56”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Lichtspiel/Kinemathek Bern.
Travelogue. Scenes in and around the celebrated seaside resort of Biarritz on the Bay of Biscay.
Adattamento da/Adapted from
BIARRITZ (FR 1917)
prod: Pathé Frères. uscita/rel: 02.-08.03.1917 (Omnia Pathé, Paris). orig. l: 120 m. (92 m. col.).

LE BON ONCLE (FR, c.1923)
Pathé-Baby no. 35. cast: Régine Dumien (Régine), Guyon fils (lo zio/her uncle). uscita/rel: c.1923. copia/copy: DCP, 2’29”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Lichtspiel/Kinemathek Bern.
Scenes from the 1920 French fiction feature Petite Ange, adapted with a different narrative via new intertitles and character relationships. Mischievous little Régine teases her good-natured uncle about his snoring after he falls asleep in the garden after having his tea, and then they play together.
Adattamento da/Adapted from
PETITE ANGE (FR 1920)
regia/dir: Luitz-Morat. sogg/story: Alfred Vercourt. photog: Frank Daniau-Johnston. cast: Jane Doly (Gertrude), Régine Dumien (Régine, “Petite Ange”), Germaine Dermoz (Mme. de Chambrys), Lucy Mareil (Maud Olgran), Luitz-Morat (Jacques de Chambrys), Guyon fils (Reverendo/Pastor Crockfield). prod: Luitz-Morat, Pierre Régnier, Les Films Luitz-Morat. dist: Pathé-Consortium-Cinéma. trade show: 17.11.1920. uscita/rel: 12.1920. Bousquet Pathé Cat. no. 8667; 12.1920; orig l: 2040 m.

LA BONNE TARTINE (FR, c.1923)
Pathé-Baby no. 32. cast: Régine Dumien (Régine), Guyon fils (lo zio/her uncle), ? (sua moglie/his wife). uscita/rel: c.1923. copia/copy: DCP, 2’37”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Cinémathèque suisse, Lausanne.
Scenes from the 1920 French fiction feature Petite Ange, adapted with a different narrative via new intertitles and character relationships. Little Régine cries because her brother Toto has taken her tartine (bread and jam). Everything ends happily as she eats another, laughing in the garden with her uncle and aunt, all now with jam on their faces.
Adattamento da/Adapted from
PETITE ANGE (FR 1920)
regia/dir: Luitz-Morat. sogg/story: Alfred Vercourt. photog: Frank Daniau-Johnston. cast: Jane Doly (Gertrude), Régine Dumien (Régine, “Petite Ange”), Germaine Dermoz (Mme. de Chambrys), Lucy Mareil (Maud Olgran), Luitz-Morat (Jacques de Chambrys), Guyon fils (Reverendo/Pastor Crockfield). prod: Luitz-Morat, Pierre Régnier, Les Films Luitz-Morat. dist: Pathé-Consortium-Cinéma. trade show: 17.11.1920. uscita/rel: 12.1920. Bousquet Pathé Cat. no. 8667; 12.1920; orig l: 2040 m.

LE CHAMEAU, VAISSEAU DU DÉSERT  (FR 1923)
Pathé-Baby no. 307. uscita/rel: 1923. copia/copy: DCP, 2’45”, col. (da/from 9.5mm, imbibito/tinted); did./titles: FRA. fonte/source: Cinémathèque suisse, Lausanne.
Natural History film about the camel, the “ship of the desert”. More than a beast of burden, he is a revered mainstay of the Arab people, enabling travel and trade.
Adattamento da/Adapted from
LE CHAMEAU, VAISSEAU DU DÉSERT (FR 1922)
prod: Pathé.

LA COLOMBE ET LA FOURMI (FR 1923)
Pathé-Baby no. 274. anim: O’Galop [Marius Rossillon]. uscita/rel: 10.1923. copia/copy: DCP, 3’38”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Lichtspiel/Kinemathek Bern.
Animated film adapted from La Fontaine’s Fables. A kind dove helps a little ant, and in turn he saves her from a hunter by biting his foot, enabling her to fly away.
Adattamento da/Adapted from
LA COLOMBE ET LA FOURMI (FR 1913)
anim: O’Galop [Marius Rossillon]. adapt: dalla favola di/from the fable by Jean de La Fontaine. prod: Pathé Frères.

LA CRÉATION DU PETIT MONDE (FR 1923)
Pathé-Baby no. 17. uscita/rel: 10.1923. copia/copy: DCP, 1’52”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Fondation Jérôme Seydoux-Pathé, Paris.
Fantasy/Trick film. The French nursery saying comes to life: a baby girl emerges from a big rose, and a baby boy from a cabbage. A mother in 18th-century costume happily “brings them into the world”; the film ends with her posing with the two babies.
Adattamento da/Adapted from
MÉTEMPSYCOSE (FR 1907)
regia/dir: Segundo de Chomón? Ferdinand Zecca? cast: Renée Doux. prod: Pathé Frères. uscita/rel: 13.04.1907 (Omnia Pathé, Paris). Bousquet Pathé Cat. no. 1665; orig. l: 75 m.

LE GLADIATEUR COMBATTANT. ÉTUDES DE GESTES ET D’ATTITUDES (FR, 1922?)
Pathé-Baby no. 242. uscita/rel: 1922?. copia/copy: DCP, 2’19”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Fondation Jérôme Seydoux-Pathé, Paris.
Sport/Physical Culture film. An Ancient Roman gladiator comes to life via the cinema. A dramatically lit athletic dancer wearing a helmet assumes various sustained poses and attitudes with a sword and shield.
Adattamento da/Adapted from
LE GLADIATEUR COMBATTANT, ETUDES DE GESTES ET D’ATTITUDES (FR 1911)
prod: Pathé.

LES GORGES DU TARN (FR 1923)
Pathé-Baby no. 558. adapt (9.5mm): Mlle. G. Jousset. uscita/rel: 10.1923. copia/copy: DCP, 3’50”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Lichtspiel/Kinemathek Bern.
Travelogue. Exploring the spectacular scenery of the Tarn River gorges in southern France, including tourists sightseeing in flat-bottom boats and riding the rapids. One of the boatmen summons them by sounding a conch shell.
Adattamento da/Adapted from
LE TARN ET SES GORGES (FR 1916)
prod: Pathé Frères. uscita/rel: 29.12.1916-04.01.1917 (Omnia Pathé, Paris). Bousquet Pathé Cat. no. 7797; orig. l: 125 m. (100 m. col.).

L’INFERNAL CONTORSIONNISTE. FRED SATO (FR 1922)
Pathé-Baby no. 216. uscita/rel: 10.1922. copia/copy: DCP, 1’53”, col. (da/from 9.5mm, imbibito/tinted); did./titles: FRA. fonte/source: Fondation Jérôme Seydoux-Pathé, Paris.
Diabolical contortionist Fred Sato gets into some incredibly twisted poses; the film of the act begins with some stop-motion special effects. Tinted red for extra atmosphere. (The dogs from the original longer film from 1910 are not in this shortened version.)
Adattamento da/Adapted from
FRED SATO ET SES CHIENS DIABOLIQUES (Fred Sato and His Clever Dogs) (FR 1910)
prod: Pathé Frères. cast: Fred Sato. Bousquet Pathé Cat. no. 3778, 10.1910; orig. l: 85 m. (80 m. col.). uscita/rel: 24.-31.01.1911 (T.N.P., Bordeaux).

LE LIS DU JAPON (FR 1923)
Pathé-Baby no. 24. uscita/rel: 10.1923. copia/copy: DCP, 2’24”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Cinémathèque suisse, Lausanne.
Popular Science/Natural History film about the lilies of Japan. One scene shows a flower blossoming via slow-motion photography.
Adattamento da/Adapted from
COMMENT S’ÉPANOUISSENT LES FLEURS (FR 1913)
prod: Pathé Frères. uscita/rel: 02.-08.05.1913 (Omnia Pathé, Paris). Bousquet Pathé Cat. 5793; orig. l: 105 m.

MÉCANICAS ET LA MACHINE À GUÉRIR (FR, c.1922-1924?)
Pathé-Baby no. 698. anim: Robert Lortac [Robert Collard], Cheval. uscita/rel: 1922-1924. copia/copy: DCP, 4’44” (da/from 9.5mm); did./titles: FRA. fonte/source: Fondation Jérôme Seydoux-Pathé, Paris.
Animation. Scientists flock to see Professor Mécanicas’ latest invention, “une machine à guérir” (healing machine). The first demonstrations are amazing: an old man on crutches enters and emerges rejuvenated, laughing and throwing his crutches away. The machine can also expose those who feign illness. Inside the machine is a robot doctor. A procession of patients are treated, all successfully. But eventually the machine goes haywire, with some bizarre results. The Professor is attacked, taking refuge in the machine. The robot declares the Professor crazy, and packs him off to the Charenton asylum.
Adattamento da/Adapted from
MÉCANICAS ET LA MACHINE À GUÉRIR (FR, pre-1924)
anim: Robert Lortac [Robert Collard], Cheval. prod: Atelier Lortac (Montrouge, Paris).

LES MÉDUSES (FR 1923)
Pathé-Baby no. 62. uscita/rel: 10.1923. copia/copy: DCP, 2’04”, col. (da/from 9.5mm, imbibito/tinted); did./titles: FRA. fonte/source: Fondation Jérôme Seydoux-Pathé, Paris.
Popular Science/Natural History film about different varieties of jellyfish. Tinted light green.
Adattamento da/Adapted from
LES MÉDUSES (FR 1921)
prod: Pathé.

MISS FLUTTER. MÉTAMORPHOSES (FR 1923)
Pathé-Baby no. 12. uscita/rel: 10.1923. copia/copy: DCP, 1’52”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Cinémathèque suisse, Lausanne.
Fantasy/Transformation film. A woman costumed as a butterfly displays her ever-changing spectacularly patterned wings.
Adattamento da/Adapted from
MÉTEMPSYCOSE (FR 1907)
regia/dir: Segundo de Chomón? Ferdinand Zecca? cast: Renée Doux. prod: Pathé Frères. uscita/rel: 13.04.1907 (Omnia Pathé, Paris). Bousquet Pathé Cat. no. 1665; orig. l: 75 m.

LE NÉPENTHÈS. UNE PLANTE QUI CAPTURE LES INSECTES (FR 1923)
Pathé-Baby no. 97. uscita/rel: 10.1923. copia/copy: DCP, 3’41”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Lichtspiel/Kinemathek Bern.
Popular Science/Natural History. Documentary about the Nepenthes, the carnivorous tropical pitcher plant, which traps insects.
Adattamento da/Adapted from
UNE PLANTE QUI FAIT SES PROVISIONS: LE NÉPENTHÈS (FR 1912)
prod: Pathé Frères. uscita/rel: 28.05.-03.06.1912 (Théâtre Omnia, Rouen). Bousquet Pathé Cat. no. 4938; 02.1912; orig. l: 140 m.

LE NUMÉRO INATTENDU (FR?, c.1935?)
Pathé-Baby no. 3149. uscita/rel: 03.1935. copia/copy: DCP, 7’19” (da/from 9.5mm, 2 rl.); did./titles: FRA. fonte/source: Fondation Jérôme Seydoux-Pathé, Paris.
Animation. A circus story with a twist. A parade heralds the Circus Balsanno. Before the show, Bobard the elephant is thirsty. His keeper confuses the water and gas hoses, and the elephant ends up literally being lighter than air. The lady tightrope walker and the lecherous keeper rise up into the air with the elephant. He lights a cigarette and the elephant explodes, sending the two of them hurtling back to earth. She ends up bouncing off the net in the center ring, caught by her partner. Huge applause. The act is a hit! (Alas, we never see the elephant again.)
Adattamento da/Adapted from
LE NUMÉRO INATTENDU (FR?, c.1930-1935?)
prod: Pathé.

LE PAPILLON MACHAON (FR 1923)
Pathé-Baby no. 51. uscita/rel: 10.1923. copia/copy: DCP, 2’27”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Fondation Jérôme Seydoux-Pathé, Paris.
Popular Science/Natural History instructional film about the Carrot Caterpillar, who develops on carrots and evolves into the colourful Swallowtail Butterfly. We see the chrysalis form and give birth to the butterfly via speeded-up time-lapse photography.
Adattamento da/Adapted from
LA CHENILLE DE LA CAROTTE (FR 1911)
prod: Pathé Frères. Bousquet Pathé Cat. no. 4136; 02.1911; orig. l: 190 m. (129 m. col.).

LA PÊCHE AUX CROCODILES SUR LA RIVIÈRE KLANG (FR 1923)
Pathé-Baby no. 94. uscita/rel: 10.1923. copia/copy: DCP, 2’35”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Lichtspiel/Kinemathek Bern.
Natural History film. Crocodile fishing on the Klang River in Malaysia. Fishermen setting the bait, and later hauling the captured crocodile ashore. A final title tells us his hide will be sold to make fancy leather-goods.
Adattamento da/Adapted from
PÊCHE AU CROCODILE SUR LA RIVIÈRE KLANG (FR 1911)
prod: Pathé Frères. Bousquet Pathé Cat. no. 4461; 08.1911; orig. l: 170 m. (145 m. col.).

SUR LES BORDS DE L’AUDE (FR 1923)
Pathé-Baby no. 553. uscita/rel: 10.1923. copia/copy: DCP, 3’24”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Lichtspiel/Kinemathek Bern.
Travelogue about the River Aude in southern France, which flows from the Pyrenees to the Mediterranean. We see rugged mountain terrain and gorges, a marble quarry, and the medieval walled city of Carcassonne.
Adattamento da/Adapted from
SUR LES BORDS DE L’AUDE (FR 1922)
regia/dir, photog: C. Gilbert. prod: Pathé.

EL TANGO ARGENTINO (FR 1923)
Pathé-Baby no. 215. uscita/rel: 1923. copia/copy: DCP, 2’04”, col. (da/from 9.5mm, imbibito/tinted); titolo di testa/main title: SPA; senza did./no intertitles. fonte/source: Cinémathèque suisse, Lausanne.
Dance film. A couple in Argentine costume (dressed as a senorita and a gaucho) dance the tango as a small group watches. (The male dancer dressed as a gaucho may actually be a woman.)
Adattamento da/Adapted from
[LE TANGO ARGENTIN] (El Tango argentino) (FR, ?)
prod: Pathé Frères.

LE THÉ (FR 1923)
Pathé-Baby no. 24. uscita/rel: 10.1923. copia/copy: DCP, 3’15”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Fondation Jérôme Seydoux-Pathé, Paris.
Agriculture & Industry. Documentary about the cultivation, harvesting, and industrial preparation of tea. Scenes in the Far East.
Adattamento da/Adapted from
LE THÉ: CULTURE, RÉCOLTE, PRÉPARATION INDUSTRIELLE (FR 1909)
prod: Pathé Frères. Bousquet Pathé Cat. no. 2933; 08.1909; orig. l: 155 m. (107 m. col.).

TOILETTES DU SOIR. MODE DE PARIS 1923 (FR 1923)
Pathé-Baby no. 586. uscita/rel: 10.1923. copia/copy: DCP, 2’05”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Fondation Jérôme Seydoux-Pathé, Paris.
Fashion film. Three women model the latest evening fashions in an interior. Footage from an as yet unidentified issue of the Pathé-Revue.
Adattamento da/Adapted from
Pathé-Revue no. ?: [TOILETTES DU SOIR] (FR 1923)
prod: Pathé.

TROUVILLE, LA REINE DES PLAGES (FR 1923)
Pathé-Baby no. 615. adapt (9.5mm): Mlle. G. Jousset. uscita/rel: 10.1923. copia/copy: DCP, 3’17”, col. (da/from 9.5mm, pochoir/stencil-colour); did./titles: FRA. fonte/source: Lichtspiel/Kinemathek Bern.
Travelogue. Scenes in and around Trouville, “the Queen of Beaches”, the fashionable seaside resort in Normandy. Views include the Casino, bathers, villas, gardens, and the port.
Adattamento da/Adapted from
TROUVILLE (FR 1913)
prod: Pathé Frères. uscita/rel: 06.-12.06.1913 (Omnia Pathé, Paris). Bousquet Pathé Cat. no. 5840, 04.1913; orig. l: 125 m. (90 m. col.).