fits the 1896 version, but doesn’t fit either the 1900 or 1902 remake: “A loving couple walks through a vegetable garden in search of a baby. A fairy deposits live babies which she then removes from the cabbages to the delight of the young couple who are overjoyed.” This catalogue that Alice Guy had in her possession appears to be lost because the earliest description we have is from the 1901 Gaumont catalogue which carries the following description and fits the 1900 version: “A fairy deposits live babies which she then removes from the cabbages. Very big success.” The text of this description appears to have been abbreviated from the previous text that Alice Guy gave to Victor Bachy. It uses the exact same words, but the phrases about the young couple are deleted. Sage-Femme, released in December 1902, got a much more detailed description, two paragraphs long, in the September 1903 Gaumont catalogue. Georges Sadoul and Henry Gallet Henry Gallet, when he was interviewed in the mid-1940s, told Georges Sadoul that La Fée aux Choux was “his first film.” Georges Sadoul misinterpreted this to mean that Henry Gallet directed La Fée aux Choux. Henry Gallet, on seeing Sadoul’s error, contacted him to correct it. In a later edition, Sadoul added a footnote to the text that said Henry Gallet “was content to be the actor of the films made by Alice Guy, who claims all the Gaumont production in the early years.” Since neither the 1900 La Fée aux Choux nor the 1902 Sage-Femme had any male actors, only the 1896 version can fulfill this specific detail. Henry Gallet lived near the Gaumont property at his parents’ house until at least 1900, and was only 19 in 1896. He most likely played the young husband. The Subtitle There are only two or three films before 1900 in the Gaumont catalogue that have a subtitle. La Fee aux Choux ou La Naissance des Enfants in 1900 is one of them. The Lumière films that were shown on December 28, 1895, and in the months that followed, took their titles from the action in the film: Arrival of a Train at La Ciotat, Workers Leaving the Lumière Factory, etc. These titles were purely descriptive. There was no artistic consideration given to the titles of the earliest films. Alice Guy likely followed this pattern, giving her first film a descriptive title such