kekseksa There are two things about which we need to be more careful with regard to early films. Some 90% of silent films are believed to be lost and we only have a small acquaintance still even with those films we still possess. Every year films are restored and returned to circulation; every year films are newly rediscovered (two Méliès films, a Mary Pickford film and one of the earliest Sherlock Holmes films in the last year to my knowledge). One of the things it is very dangerous to do is ever claim that a film is a "first" in any respect or another. At best, one can say that it is "the first known" or "one of the earliest". This is not, for instance, the first series of films with the same character, although it is a very early one. It is not the first US series containing such a character; it is not even the first Edison series containing such a character. James H. White had already produced a series of films for Edison 1899-1900 containing the character "Jones" whom he played himself.There had already been pseudo-series involving tramp-characters (who came in Edison;s practice to be identified as "Weary Willie", a name taken from a British comic strip and also countrymen (known simply as "Rube" or "Uncle Rube")as early as 1897. Mutoscope's "Uncle Rube" is really not very different from Edison's "Uncle Josh". What is more, "Uncle Josh" is no more an original creation for the cinema than Weary Willy or Happy Hooligan. He very much existed already in the form of "Uncle Josh" Weathersby of Punkin Center in the books and records produced by vaudevillian and monologuist Cal Stewart (1856-1919) who just happened to be one of the star recording artists for Edison's phonograph company 1897-1903. The "Uncle Josh" monologues have very similar titles to this group of films and the name is just a borrowing from Stewart to indicate a caricatural old yokel.Nonetheless the beginnings of a tendency to identify comic characters by name, to make them characters rather than just stereotypes is important and the US was well ahead of the field in this respect. The French, who would later (1906-1914) become the most important makers of such comic series, barely ever identified characters by name before about 1905! A second thing one needs to be careful about are ascriptions. All three of these films are frequently ascribed to Edwin S. Porter but in fact we only know with reasonable certainty about the third film, Uncle Josh at a Moving Picture Show, made a whole two years after the other two. We cannot be at all certain that they were originally conceived as a trilogy and, looking at the films, it seems a bit unlikely.The first two (Uncle Josh's Nightmare and Uncle Josh in a Spooky Hotel)resemble each other but they also resemble several other films made by Edison in 1900 that were clearly intended as a response to the "trick films" of Frenchmen Georges Méliès and which have only very doubtfully been ascribed to Porter (see my earlier reviews of The Magician and An An Animated Luncheon). These two Uncle Josh are distinctly better than the other poor efforts, thanks to the performance of the main actor (we cannot even be absolutely certain that it is Manley who played in these two although he is definitely in the third) but the supernatural effects are still decidedly feeble compared to the films of Méliès.The third film is quite a different matter. This is not a trick film. It is however a remake, this time of a British film, R. W. Paul's The Countryman's First Sight of the Animated Pictures (1901) and pretty much a frame-by-frame remake (even the examples of films are the same) but it is a good remake and the films are of an entirely original kind and on a theme that was at this point innovative (although it would later be worked to death by Sennett at Keystone) and that is of central concern to the early history of cinema. But that perhaps needs to be the subject of a separate review.....Incidentally, I should not take too seriously the claim that Manley was an actor in the theatre at the time of Lincoln's death. A very large number of veteran actors made the same claim and a wit once pointed out that if all those who said they were there really had been, they would have filled the entire playhouse.

Horst in Translation ([email protected]) "Uncle Josh in a Spooky Hotel" is one of the first from roughly 300 films directed by American film pioneer Edwin S. Porter. This one is a bit of a horror story, but really more of a comedy. Uncle Josh, the more obese of the two, enters a hotel room and is genuinely worried about something strange happening at midnight. The hotel owner manages to calm him down and stays with him. A ghost appears right behind the two and slaps first the one, then the other without being recognized. Uncle Josh and the owner both suspect the other of being responsible for the joke, so short fights ensue. Until the ghost finally reveals himself to the owner, who panics and runs away. Josh, meanwhile, takes a look at the clock and sees midnight has passed laughing and joking about how he must have overreacted with the ghost right next to him. Sadly the curtain falls before we see him realize.On a side-note Charles Manley, the actor who plays Uncle Josh in this one and a few more films, was part of the cast at the theater when President Lincoln was assassinated. This snippet gives us a good hint on how to put the actor and the film into its right historical perspective.

Michael_Elliott Uncle Josh's Nightmare (1900) ** 1/2 (out of 4) Uncle Josh in a Spooky Hotel (1900) ** 1/2 (out of 4) Uncle Josh at the Moving Picture Show (1902) ** (out of 4)This Edison trilogy, directed by the legendary Edwin S. Porter, is considered the first film(s) to have a sequel and in fact this is probably the earliest attempt to create a franchise series. It's also worth noting that the actor playing Uncle Josh, Charles Manley, was an actor at the Ford Theatre when President Lincoln was assassinated so there's an interesting bit of history that makes this series worth checking out. In Uncle Josh's Nightmare, the Uncle is in bed trying to fall asleep when the Devil appears in his room and tries to keep him up. Uncle Josh must battle the Devil in order to try and get some sleep before morning. This film is really no different than countless films made by George Melies but it still remains slightly entertaining since there's a lot more action in this film than what we saw in the Melies movies. The action lasts for the entire movie and keeps the film moving well. In the sequel Uncle Josh in a Spooky Hotel, our good guy goes to a hotel to try and get some sleep but as soon as he walks into the room a spirit begins causing him trouble. Once again, this film really isn't any different than what we've seen from Melies but, again, the movie remains entertaining throughout. The special effects of the spirit coming up isn't the greatest in the world but the film does hae enough charm to keep it going. In the final film, Uncle Josh at the Moving Picture Show, our good guy walks in to see a movie but then thinks what he's seeing on the screen is real. This last film in the series is certainly the weakest but it still contains a little charm but it needed more of the laughs to work. We've all heard stories of people walking into a movie for the first time and freaking out by what they saw and I was hoping this film would capture that but it didn't. In the end, this trilogy of films runs just under six minutes and is worth viewing for anyone interested in the early days of cinema.

dr-no This is another interesting early film from the Edison Kinectoscope Company. A man and Uncle Josh come into the hotel room, check the bed, and get some chairs and sit down. The ghost appears and hits Uncle Josh, which causes Josh to hit the other man. The ghosts hits the other man, and he hits Josh. The ghost appears on the other side of the man, and reveals himself to him. The man runs in fright. Then he sits next to Josh. All in all this is a funny film with some trick photography and slapstick.