An Unseen Enemy

An Unseen Enemy is probably most notable for being the first film of the Gish sisters, Lillian and Dorothy. It's also a rather good short in its own right, being the latest in a series of increasingly adept reworkings of Griffith's trapped heroine/ride-to-the-rescue drama.

When Griffith first met the sisters, he seems to have been attracted to the idea of casting them as endearing twins, here dressing them identically. It is actually younger sister Dorothy who is foregrounded – often literally – but Lillian's is the standout performance. She reacts convincingly and lends an air of credibility to an otherwise very hammy melodrama. The worst offender in the hammy stakes by the way is Elmer Booth, who would later give a great turn in The Musketeers of Pig Alley, but here just does the old wide-eyed-panic-in-close-up routine that is the staple of so many silent melodramas.

In spite of the illustrious acting debut, this is still very much Griffith's show, the director having by now honed a precise formula for this type of film. The set-up is rather concise, and the action finale actually takes up around half the picture. Griffith weaves together various different strands to make a four-way crosscut, perhaps his most complex ride-to-the-rescue thus far. He also throws in various little twists to ratchet up the tension – the car being delayed by the swing bridge, the phone line going dead and, of course, that menacing gun. It may look rather corny, almost surreal in fact, but there is something very creepy about the close-up in which the gun slowly emerges through the hole in the wall.

An Unseen Enemy is a decent Biograph short, very typical of Griffith's output around this time. Lillian Gish was clearly already one to watch, although it's worth remembering that she only had a handful of big roles in the Biograph shorts, and it was only once Griffith began making features that she emerged as his main leading lady.

This short is available as part of Hollywood's Attic VHS tape set. It is on the Griffith Shorts tape #2.

The Gish sisters star and Griffith directs with his standard assortments of cuts and word titles. The music score is difference for other Attic tapes, but it may or may not be the original.

The tape runs a little on the fast end (11 minutes) and the short subject could be given better treatment in a longer movie, but otherwise good. Very few people are credited. While more are credited than usual Griffith films, there are still lots of extras and possible cameo spotting may be fun for buffs.

The story could easily be remade, but it will likely remain in the attic like most early cinema.

As standard the short finishes with "The End"

To make newcomers-to-film Gish sisters, Lillian and Dorothy, ages 19 and 14, show fear in their movie debut, September 1912's "An Unseen Enemy," Biograph director D. W. Griffith drew out his gun and chased them around the studio room, shooting into the ceiling. The ploy must have worked since what the viewer sees on the screen reflects two young girls in fear for their lives.

The Gishes were literally brought up on the stage. With a father deserting them early on, the sisters with their mother moved from the Midwest to New York City in an attempt to elevate their theater acting. They became good friends with their next door neighbor, Gladys Smith, aka Mary Pickford. Getting modeling jobs as well as stage work, the Gishes were introduced to D. W. Griffith by Pickford in 1912. Biograph signed the two to contracts, with their first movie scheduled to be "An Unseen Enemy."

Griffith thought they were twins when he first saw them, despite their age difference (19-year-older Lillian lied about her age being 16 at the time). On the set he tied a blue ribbon in the hair of one and a red ribbon on the other. When he wanted to direct one of them to do something, he would say, "Red, do this," or "Blue, do that."

After humiliating the sisters with the ribbons and the firearms shooting, Pickford took Griffith aside and asked him not to treat her friends like that ever again. And he didn't.

As for "An Unseen Enemy," the movie is almost a carbon copy of Griffith's 1909 "The Lonely Villa." Both have robberies taking place in female-only occupied houses, with the males summoned by phone miles away to come and rescue them. At this stage of his career, Griffith was becoming tired of Biograph Studios restraint on limiting the director to stick with just one reelers--about 15 minutes in length. While longer feature movies were being produced with greater frequency, Griffith would begin to search for new avenues to gain more freedom behind the camera. But "An Unseen Enemy" does show his expertise in cross-cutting with dual scenarios playing out at the same time.

It's hard for me to be objective about the merits of this particular Biograph short because my first viewing of it was such a memorable experience: I was fortunate enough to see D.W. Griffith's An Unseen Enemy in the presence of one of its featured players, Miss Lillian Gish. Perhaps I should add that the two of us had some company, in fact there were several thousand others present, as well. Over a period of several days in March of 1987 four famous silent feature films were shown at Radio City Music Hall in NYC, each accompanied by a full orchestra conducted by Carl Davis, and each introduced by someone associated with the production in some way. Two of John Gilbert's movies were introduced by his daughter, Leatrice Gilbert Fountain; Douglas Fairbanks Jr. introduced his father's classic The Thief of Baghdad; and the magnificent drama The Wind was introduced by its star, 93 year-old Lillian Gish, who was greeted rapturously with a roaring standing ovation.

First, however, we were treated to a short film. An Unseen Enemy marked the premiere screen appearances of Lillian and Dorothy Gish in featured roles -- that is, after a stint as crowd extras in another short, which in effect served as their screen test. The very first image we see is a shot of these two beautiful girls, still in their teens, portraying sisters who are in mourning for their recently deceased father. We note right away that Lillian's grave, mesmerizing beauty is already in full bloom, and that both girls seem perfectly natural and at ease on camera. The film's plot is rudimentary, and easily conveyed with a minimum of title cards: the girls have inherited a small sum of money, which is deposited in a safe in their home by their brother who then leaves for work. Unfortunately, the sisters have been left in the care of a low-life housekeeper, who promptly goes after the money. Meanwhile we meet Dorothy's boyfriend Bobby, who is about to leave for college but is unhappy that Dorothy is too shy to give him a farewell kiss. Before long, the wicked housekeeper has enlisted the help of an equally disreputable partner, who sets about cracking the safe while she locks the girls in a small room and keeps them covered with a pistol, which she points through a stove port in the wall. The girls' brother, summoned by a frantic phone call, commandeers an automobile and races to the scene, but it's Bobby who manages to save the day, and earn that postponed kiss from Dorothy.

The race to the rescue was already a Griffith specialty by the time this film was made, but while there are other Biograph shorts that offer more elaborate and exciting versions of the device, the brief chase in An Unseen Enemy is well-edited and effectively suspenseful. The most memorable image from this film is the rather bizarre sight of Lillian and Dorothy being kept at bay by that pistol, held by a gloved hand sticking through a hole in the wall. The girls cower in a corner for an extended period although it appears from the way the scene was staged that the woman holding the gun could not possibly see them. When I saw this movie at Radio City the audience viewed it with respectful interest, generally speaking, but I have to admit this sequence generated some unintended laughter, as did the title card identifying the housekeeper as "the slattern maid."

When Miss Gish stepped out onto the stage, moments after this short drama had ended, she made only a couple of cursory remarks about it and then quickly turned to discussing Victor Sjöström's The Wind, which she told us she considered a great film. It surely is, but for viewers interested in Gish's and Grifith's early work An Unseen Enemy is well worth viewing in its own right, allowing for its simple technique and modest production values. This is a well-constructed and interesting short, and the fact that it showcases the Gish sisters at the dawn of their film careers is reason enough to see it.

The quality in which Biograph pictures most excel is the atmosphere of individuality that surrounds each player, making him or her distinct from all others. In no other make of picture is it so marked. There is much of it in this very effective release, but not as much as usual. The object of the picture is to create a feeling of dread and the means it uses is to place two little girls in a locked room, and put them in danger from an "unseen enemy" in the adjoining room. This enemy is a drunken maid, who, with another rough character, is bent on blowing up a safe. There is a hole in the wall made for a stove pipe and the woman can thrust her arm through this and shoot, but she can't see to aim, because the hole is too small. Her purpose is to keep the children from using the telephone. But it lies on the floor where the eldest girl had dropped it and the sound of the shots is more eloquent to bring help than words. The little girls are charming; they are not yet actresses, but in a good place to learn acting. The photography in many scenes is not up to standard. - The Moving Picture World, September 21, 1912