- Directors: J Searle Dawley
- Writers: Charles Dickens
- Genres: Short, Drama, Fantasy
- Actors: Marc McDermott, Charles S Ogle
The day before the Christmas holiday, Ebenezer Scrooge, a hard-fisted miser, refuses to contribute to the Charity Relief Committee, and then rudely rejects his nephew Fred when he visits Scrooge in his office. When Scrooge returns home, he sees the ghost of his former business partner Jacob Marley, who warns him of the punishment he will suffer in the next life if he does not change his ways. That night, Scrooge is visited by three more spirits, who show him his past, the present, and the future that awaits him.
- Directors: J Searle Dawley
- Writers: J Searle Dawley
- Genres: Short, Horror, Sci-Fi
- Actors: Augustus Phillips, Charles Ogle, Mary Fuller
From The Edison Kinetogram:
Frankenstein, a young student, is seen bidding his sweetheart and father goodbye, as he is leaving home to enter a college in order to study the sciences. Shortly after his arrival at college he becomes absorbed in the mysteries of life and death to the extent of forgetting practically everything else.
His great ambition is to create a human being, and finally one night his dream is realized. He is convinced that he has found a way to create a most perfect human being that the world has ever seen. We see his experiment commence and the development of it. The formation of the hideous monster from the blazing chemicals of a huge cauldron in Frankenstein’s laboratory is probably the most weird, mystifying and fascinating scene ever shown on a film. To Frankenstein’s horror, instead of creating a marvel of physical beauty and grace, there is unfolded before his eyes and before the audience an awful, ghastly, abhorrent monster. As he realizes what he has done Frankenstein rushes from the room, only to have the misshapen monster peer at him through the curtains of his bed. He falls fainting to the floor, where he is found by his servant, who revives him.
Here comes the point which we have endeavored to bring out, namely: That when Frankenstein’s love for his bride shall have attained full strength and freedom from impurity it will have such an effect upon his mind that the monster cannot exist. This theory is clearly demonstrated in the next and closing scene, which has probably never been surpassed in anything shown on the moving picture screen. The monster, broken down by his unsuccessful attempts to be with his creator, enters the room, stands before a large mirror and holds out his arms entreatingly. Gradually, the real monster fades away, leaving only the image in the mirror. A moment later Frankenstein himself enters. As he stands directly before the mirror we are amazed to see the image of the monster reflected instead of Frankenstein’s own. Gradually, however, under the effect of love and his better nature, the monster’s image fades and Frankenstein sees himself in his young manhood in the mirror. His bride joins him, and the film ends with their embrace, Frankenstein’s mind now being relieved of the awful horror and weight it has been laboring under for so long.