In a cozy forest cottage, a family of three bears goes out for a stroll, leaving their home unwatched. Enter a mischievous little girl, who wanders into the house, tastes their porridge, breaks their furniture, and settles into Baby Bear’s bed. When the bears return, they discover her and chase her from the house in a flurry of chaos and comedy.

But the story doesn’t end there. The bears’ frantic pursuit of the girl spills into a larger slapstick chase – one that quickly involves a group of hunters. Armed with rifles and determination, the hunters track the bears into the woods, creating havoc as they stumble over themselves and each other in a series of comic mishaps.

The climax comes with the arrival of none other than President Theodore “Teddy” Roosevelt himself – a playful nod to his famous 1902 bear-hunting trip that inspired the creation of the beloved teddy bear. Roosevelt’s appearance gives the film its satirical edge, blending fairy-tale whimsy with timely political humor.

“The Teddy Bears”, directed by Wallace McCutcheon and Edwin S. Porter, is a landmark early comedy that seamlessly combines stop-motion animation, live-action slapstick, and cultural commentary. Its inventive use of puppetry brings the bear family to life in charming detail, while the live-action chase adds a frenetic, farcical energy.

At once a children’s story and a sly political jab, the film showcases early cinema’s ability to entertain on multiple levels – appealing to both children with its fairy-tale roots and adults with its Roosevelt satire.

A delightful blend of innovation and humor, “The Teddy Bears” remains a fascinating example of turn-of-the-century creativity, proving that even in its infancy, film could be clever, charming, and surprisingly sharp.