The Lonely Villa

Three burglars (Owen Moore, Herbert Prior, and Anthony O'Sullivan) lurk outside the Cullison estate. When the family butler and maid leave on a date, the burglars trick master-of-the-house David Miles (as Robert Cullison) into vacating the premises; Mr. Miles doesn't know it, but the lurking trio are planning a robbery. After Miles leaves, the thieves terrorize helpless Marion Lenard (as Mother Cullison) and the three Cullison girls - Mary Pickford, Gladys Egan, and Adele DeGarde. As the burglars bust in, Ms. Leonard's uses her telephone to desperately call for help…

For its time, "The Lonely Villa" likely packed an audience pleasing punch; but it's rather ordinary, when compared to director D.W. Griffith's later revisitations of its story/situation. The location footage is a highlight, and the cutting of the Cullisons' telephone cord is a nice touch. Ms. Pickford, with her relatively small stature, makes a convincing little girl. Real little girl Egan shines as the first Cullison who notices something is not quite right…

**** The Lonely Villa (6/10/09) D.W. Griffith ~ David Miles, Marion Leonard, Mary Pickford

This is a good example of an idea that Hollywood uses nowadays. Panic Room was an attempt to make this into a full length film, but it dragged too much to be very exciting. But this short silent film shows the same plot, but without all the unimportant excess. What is left is the original, good idea, and that makes up the whole film. Suspense is retained throughout. Quality film making and innovation that is all too rare now, almost 100 years later.

Cross-cutting editing in movies builds suspense by going from one action to another. The film technique, still used in today's movies, illustrates events happening at the same time but in different locations. In D. W. Griffith's June 1909 "The Lonely Villa," the director advanced this particular editing craft from previous films. It was introduced as far back as the early 1900's, in particular Edwin Porter's "The Great Train Robbery (1903)."

After some prefunctory scenes in "The Lonely Villa" setting the stage of a father being called away for urgent business, Griffith then goes about following two storylines: the family home with just the mother and three daughters, the oldest being Mary Pickford, invaded by thieves while then cutting to the father going to the fake emergency site, only to discover the danger his family is in.

The rescue scenarios take on a quickened pulse as Griffith shortens each advancing clip by going back and forth between the two plots. The director's intention is to get his viewers' hearts beating faster and faster as the tension increases on the screen. Griffith would use this cross-cutting technique throughout the remainder of his film directing career, but with greater sophistication as his experience in movies gained more experience.

Watching this movie today, it's one that's more interesting than it is entertaining. In addition to being an early piece of cinema (and one that uses editing to some extent), this is also the earliest surviving movie with Mary Pickford, and maybe natural place to start if you want to explore her career. She plays the damsel in distress, and, well, you can't fault her performance as it leaves little doubt that that's what she is.

I'm sure this was a thrilling watch back in the day, and I hope there are some written accounts of how the audience reacted to it. It's obvious that the suspense is there, but only temporary accounts can tell if it worked as intended.

"Thank God, they're saved!" said a woman behind us at the conclusion of the Biograph film bearing the above title. Just like this woman, the entire audience were in a state of intense excitement as this picture was being shown. And no wonder, for it is one of the most adroitly managed bits of bloodless film drama that we have seen. From the moment the picture starts all is expectancy. Indeed, when we saw the picture at Fourteenth street, the house literally "rose" at the story, it is so closely, effectively and convincingly told. As good a piece of sharp, rapid, decisive, dramatic work as we have seen. As is usual nowadays, with all Biograph stories, and the Biograph Company certainly have the art of getting hold of good stories, this one is finely photographed. The acting, too, is of a high order. The villains are villainous, the husband very realistic in his agony, especially at the telephone, whilst the Biograph heroine is as handsome and graceful as ever. We really felt inclined to kick that burglar man for so unceremoniously stripping the jewels from this fair lady's neck. "Lonely Villa" is another Biograph success. – The Moving Picture World, June 19, 1909