In Little Italy

As these silent projects have no sound, the story has to rely on visual narrative that is set up by the director. Unfortunately, the 34 year old D.W. Griffith is not successful in setting the scene in this short film. There is no sense of place in the opening scenes, neither are there any characters that you care about and what to follow on their journey through this film for the unfolding 11 minutes. The themes do not interest me at all, and he is obviously tailoring this project to a specific market, excluding other sections of the community in the process.

Nothing in it for me, and I still feel that he was extremely lucky to be paid to express himself in this way.

A good study, illustrating the tenacity of purpose which is such an important component of average Sicilian character. There is plenty of stiletto work, some shooting and a dogged persistence in trailing which would do credit to a Sherlock Holmes. The story is a simple one of love and jealousy, with the peculiar characteristics of the people represented carefully worked out. As one watches the pictures, noting the work of the separate actors, it seems like one of the most consistent films the Biograph Company has ever put out. Costuming and surroundings are faithfully reproduced, with details introduced which add materially to its attractiveness. It is an example of making a somewhat repulsive subject interesting, and, as such, reflects credit on the producers; but judging from the comments we have heard, the subject itself and the graphic portrayal is a bit too repellent for select audiences. In most Biograph pictures there is a good moral or an episode of real life that is made interesting and instructive, but we cannot see any reason for portraying such sentiments as are expressed "In Little Italy." - The Moving Picture World, January 8, 1910