The Girl and Her Trust

The Girl and Her Trust, like all films made in the early 1900s, is very simple and very short, but Griffith introduces a number of filmmaking techniques that remain widely in use to this day. Earlier films generally played like a stage play, with minimal cutting or editing, and each scene taking place in the same location and generally in the same shot. The Girl and Her Trust was one of the first films to suggest that editing could create artificial environments by linking sets together, and it also gave a better idea of what exactly was going on (the close-up of the girl as she places the bullet in the keyhole is a great example).

Besides that, this film also had a very well-made chase at the end, in which the good guys are in a locomotive chasing the bad guys (the guys who stole the $2000 from the girl - her 'trust') who are pumping furiously on a railroad handcart. Although technically crude by today's standards, this scene had every necessary element of a good chase sequence, and it works very well. The film also introduced the idea of cross-cutting in filmmaking, as well as the idea of filming outdoors (a technique barely and clumsily employed by Edwin Porter in The Great Train Robbery). The Girl and Her Trust is a historic film, but as with all films that were made in the early 1900s, you need to keep its age in mind. It's not going to blow you away with visuals or sound, but if you keep in mind the time period in which it was made, you can begin to really appreciate its innovation.

This short drama is quite a masterpiece for its time, using every available technique along with great skill in story-telling and photography, all of which take a fairly simple story and make it interesting, believable, and exciting. There is good detail that helps define and explain the characters, expert use of cross-cutting and editing to heighten the suspense, and a nice variety of indoor and outdoor settings. Dorothy Bernard also deserves credit as the young woman willing to risk danger in order to fulfill her trust.

Many of Griffith's short films show not only masterful technique, but also an impressive efficiency that wasn't always present in his later, longer features. "A Girl and Her Trust" is one of the best of all his shorter movies, and it deserves its place as one of the best-remembered and most praised movies of its era.

A short film with simple story, but a clearly significant film. This film is featured on the 'Landmarks of Early Film' DVD and is a must for those with an interest in the cinema.

The lead female is played by Dorothy Bernard, an attractive lady of the time and showing an independence and assertiveness that can surprise some given the time period. Vintage films can often show that females were not always portrayed as the down-trodden gender, that the current politically correct vogue would have us believe.

The train chase in the film, taking into account the age of the film is a treat, and reminiscent of 'The General' (made some 15 years later).

In summary a must view for those interested in or studying the history of cinema.

Girl and Her Trust, The (1912)

*** (out of 4)

D.W. Griffith short has a female telegraph operator being held up by a couple tramps who plan on stealing $2,000. Once again seeing a Griffith film from this period compared to what else was around just shows why they say the man invited film. Here Griffith uses the editing to build nice tension and some real excitement as the tramps kidnap the woman and head off with the good guy following. The train sequence is brilliantly done and this is 15 years before Buster Keaton's The General.

This is as good a film as any to track the development of editing and camera placement in early narrative short films. "The Girl and Her Trust" has the same story outline as, at least, three other Griffith shorts: "Lonely Villa", "The Lonedale Operator" and "An Unseen Enemy". All four are last-minute rescue suspense films, with few differences between them. They all result in the setup of a girl, or a few girls, locked in a room separate from thieves stealing money; the girl uses a phone, or telegraph, to call men for help. I don't know why any of the ditzes never thought of escaping out a window. At least in "The Girl and Her Trust", there's the malarkey about her fulfilling her "trust".

By no means did Griffith invent this sub-genre; he mastered it with rapid editing. It's futile to attempt to exact the beginning of the sub-genre, but the aforementioned films, especially "Lonely Villa", are remakes of a 1908 Pathé film, "The Physician of the Castle". Suspense is absent in that film; there are only 26 shots in its 6 minutes. Biograph released "Lonely Villa" the following year, and there are approximately twice as many shots in its 9 minutes. In 1912, Biograph released "The Girl and Her Trust", which has almost as many shots as the 119 that appear in the subsequent film, "An Unseen Enemy". Furthermore, Keystone parodies (such as "The Bangville Police" and "Barney Oldfield's Race for a Life") of Griffith's last-minute rescue pictures displayed even rapider, if choppy, editing.

The reason for the additional number of shots has as much to do with staging and additional crosscutting as it does with drawn-out lengths. First, Griffith had criminals and innocents in separate rooms of the setting of the crime; crosscutting between rooms prevented plots from being dull, as he stretched suspense for longer lengths. Then, there's extended crosscutting between the crime and rescuers. Indoor shooting is also Griffith's greatest weakness; he never would get past the theatricality of a missing wall.

"The Girl and Her Trust" has the benefit of taking more of the action outside, as the girl must follow the criminals to fulfill her trust. Outside, Griffith and Billy Bitzer trucked the camera beside a moving train, creating a trademark tracking shot they'd return to in "Intolerance". There's also an overhead angled tracking shot of the criminals and Dorothy Bernard on a handcar. With such innovation and time and space constraints, however, Griffith made the fallacy of not respecting the axis of action (the train goes right, and then goes left, but it's supposed to be the same direction). That can disrupt suspense. Lastly, Griffith rarely, if ever, used medium shots and close-ups in his early films. By 1912, every Griffith film had them.

(Note: This is one of three short films by D.W. Griffith that I've commented on, with some arrangement in mind. The other films are "A Corner in Wheat" and "The Battle at Elderbush Gulch".)