A book could be written about the importance of the chase scenario in early and silent film, or just comedies, and, before that, in vaudeville and other theatrical entertainment. Eventually, the chase would provide a convenient link across shots for the development of continuity editing and, then, would became a foundation of silent slapstick. Before the likes of Buster Keaton, however, there were films such as this one shot-scene by the Lumière company, "Poursuite sur les Toits," or the Edison Company's "Chinese Laundry Scene" (1894), G.A. Smith's "The Miller and the Sweep" (1897), and early multi-shot chases as in James Williamson's "Stop Thief!" (1901) and AM&B's "Personal" (1904).
This Lumière version is similar to "Chinese Laundry Scene," but with a more elaborate set for the characters to run around, plus the different excuse for the chase this time being a cops-and-robbers set-up. As with many early films, this one was ripped-off by another studio, by Gaumont, as "Les Cambrioleurs" (although some sites on the web, including this one as of this writing, list the remake as being made, in 1897 instead of the correct 1898, before the original film, which dates either from 1897 or 1898). Odd thing, though, is that Gaumont must have bought or borrowed the set for the film from Lumière, as I doubt they stole that, too. Although, note that, fittingly, in the Lumière film, the police arrest the crooks; whereas, in the Gaumont version, the robbers get away with the crime.
This Lumière version is similar to "Chinese Laundry Scene," but with a more elaborate set for the characters to run around, plus the different excuse for the chase this time being a cops-and-robbers set-up. As with many early films, this one was ripped-off by another studio, by Gaumont, as "Les Cambrioleurs" (although some sites on the web, including this one as of this writing, list the remake as being made, in 1897 instead of the correct 1898, before the original film, which dates either from 1897 or 1898). Odd thing, though, is that Gaumont must have bought or borrowed the set for the film from Lumière, as I doubt they stole that, too. Although, note that, fittingly, in the Lumière film, the police arrest the crooks; whereas, in the Gaumont version, the robbers get away with the crime.