Actors/Artists:  Blanche Sweet, Donald Crisp, Dorothy Gish, Elmer Booth, Harry Carey, Lillian Gish, Lionel Barrymore, Mack Sennett, Mae Marsh, Mary Pickford

Director:  D.W. Griffith

Features:

• Audio Commentary by Film Historian Russell Merritt

Aspect Ratio:

Full Frame

Audio:

English: Stereo

DC-DVD Price: £26.75

For the five years between 1908 and 1913, D.W. Griffith directed some 450 films for the Biography Company, delivering at a rate of two or three films per week. These films, one and two reels in length, are sometimes regarded as apprentice works, films in which Griffith borrowed, invented, and perfected the forms and techniques that he later used to such memorable effect in The Birth of a Nation (1915), Intolerance (1916), Way Down East (1920), Orphans of the Storm (1921), and Isn't Life Wonderful? (1924). But the Biographies were more than that.

The twenty two films presented in this collector's version of D.W. Griffith: Years of Discovery: 1909-1913 are the centerpieces of that extraordinary group of films. Selections include such widely recognized masterworks as The Musketeers of Pig Alley, The Battle at Elderbush Gulch, The New York Hat, and Corner in Wheat. But lesser known social dramas like What Shall We Do With Our Old?, The House of Darkness, and a comic gem called The Sunbeam are also included. They rank among the best in a collection of short films that helped shape cinematic narrative for two generations.

Plots are simple and direct, and if the films are saturated with quassi-comic clichés and old fashioned insensitivities, they also reveal an extraordinary dramatic talent of brilliant force. It is easy to see why the Griffith Biographies were so popular at the time. With an uncanny instinct for acting talent, Griffith assembled the foremost film ensemble of his day, including Lillian and Dorothy Gish, Mary Pickford, Mack Sennett, Lionel Barrymore, Henry Walthall, and Mae Marsh. Beyond that, the requirements of plot detail, the tight physical locale of interior sets (we never see more than three sides of any room), and the need to establish character immediately resulted in a kind of cinematic shorthand which gave these shorts terrific compression. The limitations of time and space also meant that people, places, and objects frequently took on extraordinary metaphoric power they gradually lost as movies got longer. Many of the Griffith Biographies rank with the finest movies he ever made; collectively, they provide an unparalleled record of American life at the turn of the 20th century.