The Burlesque Suicide, No. 2

About the production

This film was produced during the early period of narrative cinema when films were typically only one minute long. The production utilized Edison's own film stock and equipment. The simple set design with just a table, chair, and minimal props was typical of early studio productions. The actor's performance relied heavily on exaggerated gestures and facial expressions to convey the comedic reversal, as intertitles and synchronized sound were not yet available.

Themes

Themes & topics

Historical background

Released in 1902 during cinema's first decade, The Burlesque Suicide, No. 2 reached audiences when exhibitors were still defining programming conventions. The narrative hook—A dissipated man sits at a table with a decanter of whiskey and a glass…—reflects what contemporary producers thought would draw viewers.

Why this film matters

The Burlesque Suicide, No. 2 remains discussed by archivists tracing how screen stories of its period represented work, desire, conflict, and social order. Its central situation—A dissipated man sits at a table with a decanter of whiskey and a glass…—still prompts questions about genre conventions and audience expectations.

Making of

The film was created during the peak of the Edison Manufacturing Company's film production period. George S. Fleming, who directed this film, was one of Edison's key directors working out of the Bronx studio. The production would have been extremely simple by modern standards - likely shot in a single take with one stationary camera. The actor, whose name is lost to history, would have been a regular performer in Edison's stock company of players. The entire production probably took less than an hour to film, as was typical for these one-minute subjects. The whiskey was likely water or tea, as real alcohol would have been expensive and potentially problematic for multiple takes. The film was processed and developed on-site at Edison's facilities, allowing for quick turnaround from filming to distribution.

What critics said

Trade and newspaper notices for The Burlesque Suicide, No. 2 generally emphasized casting, spectacle, and program fit rather than extended aesthetic argument. Retrospective screenings and archival notes continue to shape how viewers evaluate The Burlesque Suicide, No. 2 today.

Did you know?

• This film was part of a series of 'Burlesque' films produced by Edison that took serious subjects and gave them comedic twists
• The film was shot on 35mm film using Edison's own patented equipment
• The thumbing of the nose gesture at the end was considered quite risqué for its time
• George S. Fleming was one of Edison's most prolific directors, making over 200 films between 1898 and 1905
• The film was likely shown in vaudeville theaters as part of a mixed program of short films
• The revolver used in the film was likely a real prop, as safety regulations for film props were virtually non-existent in 1902
• This film represents an early example of the 'switch' or 'reversal' comedy trope that would become common in later films
• The Edison Company often numbered films in series, hence the 'No. 2' in the title, suggesting there was at least one other similar film
• Early films like this were often hand-cranked through the camera, meaning the actual speed could vary from projection to projection
• The film was copyrighted and registered with the Library of Congress, as was standard practice for Edison productions

Visual style

The cinematography in this film is typical of the Edison Studio's work in 1902. The film was shot with a single stationary camera positioned to capture the entire action in one wide shot, as camera movement was not yet common. The lighting would have been natural or simple studio lighting, resulting in the high contrast and slightly washed-out appearance characteristic of early films. The composition places the actor and the key props (whiskey, glass, revolver) clearly visible within the frame, ensuring the narrative could be understood without intertitles. The black and white film stock of the era had limited sensitivity, requiring bright lighting conditions. The camera was hand-cranked, meaning the frame rate could vary, though Edison's cameras were generally operated at approximately 16 frames per second.

Innovations

While not in technical terms, this film demonstrates the solid technical quality of Edison productions in 1902. The film was shot on Edison's own 35mm film stock using their patented equipment. The exposure and development show the company's expertise in the relatively new medium of motion pictures. The film's clear composition and readable action demonstrate an understanding of how to stage scenes for the camera. The single-take approach, while simple, required careful timing and performance coordination to effectively tell the story within the severe time constraints of early films. The preservation of the film allows us to study early acting techniques and cinematic storytelling methods.

Music

As a silent film, 'The Burlesque Suicide, No. 2' had no synchronized soundtrack. In 1902, musical accompaniment for films was typically provided live by the venue, ranging from a single pianist in smaller theaters to a small orchestra in larger venues. The music would have been chosen to match the mood of the film - likely starting with dramatic music during the suicide setup, then switching to upbeat, comic music for the final reveal. Edison did produce some cylinders with suggested music for their films, but most accompaniment was improvised by the musicians. The sound effects, if any, would have been created live by theater staff using various props and devices.

Memorable scenes

• The final moment when the actor thumbs his nose at the audience after revealing the suicide attempt was a joke, breaking the fourth wall in an early example of direct audience address in cinema.

What audiences thought

Audience reactions to this film in 1902 would have been largely positive, as the comedic twist on a dramatic setup would have provided the kind of surprise and amusement that early film audiences enjoyed. The thumbing of the nose at the audience would have been particularly effective in creating a direct connection with viewers. The film's brevity and clear visual storytelling made it accessible to audiences of all backgrounds and literacy levels. As part of a varied program of short films, it would have served as a light interlude between more dramatic or educational subjects. The subject matter, while potentially shocking by modern standards, was considered acceptable entertainment in the more permissive cultural atmosphere of the early 1900s.

Film connections

Influenced by

• Vaudeville theater traditions
• Burlesque performance
• Stage melodrama
• Edison's earlier narrative films

This film influenced

• Later comedy shorts that used reversal techniques
• Early Mack Sennett comedies
• Charlie Chaplin's early shorts

Film restoration

The film is preserved in the Library of Congress collection as part of the Edison Manufacturing Company papers. A 35mm print exists and has been digitized for historical preservation. The film is considered to be in good condition for its age, though some deterioration is visible in the surviving print. It is one of the better-preserved examples of Edison's 1902 output.

Where to watch

• Library of Congress National Screening Room
• Internet Archive
• Various public domain film collections
• Museum of Modern Art film collection screenings