Corner In Wheat

A Corner In Wheat - classic, silent drama. D.W. Griffith - 1910 D.W. Griffith usually made only three types of films: melodramas, social commentary and suspense (usually either battle scenes or the last-minute rescue, or both). His features often contain all three genres. His films were often set during the Victorian age or the Civil War era, or some other turning point in American history. His films of modern setting drip of Victorian sentiments. Mostly, his films were theatrical (the stories, interior shots and acting, most consistently). Griffith's films are categorical because he, apparently, rarely used scripts and was the rare studio director that interacted with the scenarists, and thus invented the role of studio director. 'A Corner in Wheat' is simple: it is social commentary. Based on a Frank Norris story, the anti-monopoly narrative fits with a recurrent theme of Griffith's films--sympathy for the poor. (It's rather hypocritical, however, considering that Griffith worked for a member of the Motion Picture Patents Company.) The story, albeit better than its contemporaries, is not of much interest, or, rather, is not why I highlighted this short film. In 1903, Edwin S. Porter crosscut scenes out of temporal order in 'The Great Train Robbery.' Parallel-action crosscutting as dissection of a scene with spatially separate actions appeared as early as 1907 in Pathé and Vitagraph films. The crosscutting in 'A Corner in Wheat' is exceptional because it functions as contrast between the wheat magnate's dinner party and the wheat farmers not being able to afford bread at a market. I'm not sure who helped Griffith with the editing, but it was probably James Smith, as usual. The parallel editing is appropriately slow paced, so again in the comeuppance dénouement. As well, the final shot was a good attempt at poignancy. The rest of the photoplay, especially the camera positioning, is primitive.

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duhprane (2007-10-04)

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hans.wurst (2008-11-04)

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