Le spéculateur en grains

D. W. Griffith was still finding his feet as a film director when he made this early short for Biograph in 1909, but it's clear that he was already emerging as a leader among the pioneering directors in New York.

This is quite a macabre parable in which an unscrupulous tycoon suffers an ironic fate after cornering the world market in wheat and boosting his bank balance by $4,000,000 in the process. Many aspects of the film are still quite primitive by today's standards - particularly the fraught scene in the trading pit during which nearly everybody overacts outrageously so that the viewer doesn't know where to look.

The cross-cutting for which Griffith would become justly famous is in evidence here, but it's interesting that, instead of using it to heighten moments of tension or suspense, he uses successive shots to emphasise the contrasting lifestyles of the ruthless speculator who drunkenly toasts his good fortune at a banquet with his friends while the poor working masses suffer the economic fallout of his manipulation of the market.

D.W.Griffith's condensed interpretation (14 minutes) of social conscious novelist Frank Norris's The Pit is an early and beautifully crafted example of what incredible influence film could exert in conveying its message to the masses.

A Corner in the Wheat is a clear and concise portrayal of Capitalistic greed as Griffith masterly employs the early tools of the trade to convey and condemn the repercussions of such action. It is early juxtaposition at its best as cross cuts between the have and have nots with well paced editing and striking compositions (the wheat field scenes are right out of Vincent Millette)that graphically illustrates the imperfection of the system.

There is a powerhouse finish rich in irony in this subversive work by the aristocratic Griffith that clearly must have inspired and influenced the work of the great Russian Socialist directors and by doing so adds final irony to this early work of pure cinema.

(Note: This is the first of three short films by D.W. Griffith that I care to highlight by commenting on them. The others are "The Girl and Her Trust" and "The Battle at Elderbush Gulch".)

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 filmmaker that interacted with the scenarists, and thus invented the role of 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.

A Corner In Wheat (1909) : Brief Review :

D W Griffith's parallels with social commentary on two opposite and inevitable corners of the society. The unavoidable fact of the society was, is and will be that, 'The Rich gets richer and The Poor gets even worse' and unfortunately the world doesn't seems to be bothered by the idea of changing this equation. D W Griffith, who has always showm sympathetic approach to the poor people in his film with one constant condition that the character has to have good and kind Nature, have used the same formula but it was far before he used it in his most popular films made years later. A Corner In Wheat is about an Alan unscrupulous and greedy capitalist speculator decides to corner the wheat market for his own profit, establishing complete control over the markets and destroys the lives of poor people. The film showcases two opposite and different corners of the society, the rich and the poor, dealing with different consequences of the same issue and at the same time. This idea of parallel narrative was loved by audience after 50s but who knew that Griffith did it almost 4 decades ago. Watch out for the scenes when he shows the rich people partying and wasting foods and drinks and on the side we see poor and hungry people in que for food and not getting it. Such a heartbreaking scene it was. And the last frame when the poor man is crying and seeding at the time, what a wonderful thing it was. Hats off to D W Griffith and his imaginative brain which was running far ahead of its time and unfortunately we didn't born in his era to experience his brilliance. Whoever is fan of the cinematic genius called Griffith just can't miss this Short flick. Don't take the rating too seriously as it is purely systematic because films made 10 decades ago just cannot be measured with modern strips. A Must See!

RATING - 7/10*

By - #samthebestest

Corner in Wheat, A (1909)

*** 1/2 (out of 4)

One of D.W. Griffith's best shorts. This one deals with an evil tycoon who makes the price of wheat go up for his own profit but by doing this is causes the poor to suffer. Here's another film where Griffith takes out his anger of being poor and he hits all the right notes making this a high energy and downright dirty tale. The way Griffith shows the poor is wonderfully done and the ending is great as well. Of historical importance, this was the first film to get reviewed in a NY newspaper, which also makes the historians believe that this was the first film reviewed anywhere in the world. Films were discussed in papers before this one but this was the first to actually get its own review.