Ces sacrés chapeaux

This ultra-short film from movie pioneer D. W. Griffith isn't so much a film as a public service announcement. In the early years of cinema there were no restrictions on women wearing hats in a theatre (although men had to remove theirs) a situation that led to some heated moments due to the size of some ladies' bonnets.

The film takes place in a tiny cinema, and Griffith makes use of a split-screen technique to show the second film taking place on the cinema's screen. It looks fairly primitive today, but was probably quite effective in its day. As the film unfolds, more and more ladies wearing increasingly outlandish hats take their seats at the front of the cinema, blocking the view of those sitting behind. Mass pandemonium almost breaks out until the kind of bucket contraption used by diggers descends from the ceiling to remove one lady's hat before accidentally picking up a second lady who is still attached to hers.

It's a fairly amusing picture, and Griffith, who also wrote the piece, displays a sense of humour that he is not normally noted for, but at two-and-a-half minutes it's definitely as long as it needs to be.

I, personally, believe in common human decency, and in order to be a human of decency I believe that you shouldn't start a whole fuss when going to a film in the theater. However, right in front of me while I was watching this film, there was a woman in the theater wearing a ridiculously large hat! My complaint about this caused a whole string of events that kept me from properly viewing the film!

What I DID see of the film, however, was quite interesting and experimental. Definitely impressive for such an old film! The film actually included some wildly creative special effects and can be used as an early example of more satirical cinema.

8/10 for the film...1/10 for the time I had watching the film.

those awful hats has a surprisingly funny and witty plot, despite it's short lenght and real purpose. the film serves as an experiment for griffith, who tries out new and interesting things, succeeding brilliantly, i think. the early trick with 'film on film', what we call the blue screen technique today, works well for it's time. i'm curious about the restoring process, and overall about griffith, i have no sufficient info to give an in depth analysis, i just have to count on what i see on the screen. the bucket works nicely. i would be certainly interested to learn more about the making of this short.

surprisingly good, really. i don't know anything about film technology, so this from a guy who just likes films; 7/10

the first griffith film i saw, more to be seen in the weeks to come.

This three-minute farce is one of the most unique and unusual Biograph shorts. Those Awful Hats sees DW Griffith, father of film narrative, doing what is virtually a non-narrative film. A one-liner, basically, giving a message to the audience in a fresh, entertaining form that they would take notice of.

This is also Griffith's only special effects film in the mode of Georges Melies. Melies' trick shot shorts had been widely imitated throughout the 1900s, although by 1909 they were dying out as cinema became less of a magic show and more of a storytelling medium. Griffith not only makes smooth use of a few Melies techniques (superimposition and stop motion) but has also absorbed some of the older pioneer's extreme and absurd comedy style, with the huge grabbing machine. Griffith was just making passing use of the style though – he was rather more subtle (for the era) in his regular shorts.

What is more interesting today is that this is one of the earliest films in which cinema references itself. You have a screen audience being watched by a real audience, and a film within a film. Nothing really symbolic here – this isn't Fritz Lang – but it does show you how much of an institution cinema was becoming, as well as being a rare glimpse into what a movie theatre of the time would look like (minus the grabby thing of course).

Although his point-and-shoot approach has been denounced as theatrical (although it is no more so than that that of his contemporaries), at this point Griffith was really starting to experiment with the infinite possibilities of depth within the frame. The screen was a stage for Griffith, but it was the biggest and most versatile stage imaginable, into which a street, a beach or even another theatre could be placed. The idea of a "show-within-a-show" may date back to Shakespeare's Taming of the Shrew, or perhaps even earlier, but at this stage in the game Griffith's introduction of theatrical and literary devices was moving the medium forward, not holding it back.

When you recall that it was made as a public service announcement, in the same vein as those "turn off your phone" things you get in cinemas today, Those Awful Hats is simple yet effective. It doesn't show you Griffith the master of film technique, just a functional short by a practical filmmaker.

The name of D.W Griffith holds a special significance in cinema. Some of the greatest motion picture legends have paid tribute to his pioneering film-making, including John Ford and Orson Welles. Notably, Charles Chaplin once described Griffith as "The Teacher Of Us All." The director's unending praise is certainly not undeserved, his most revered films including the controversial 'The Birth of a Nation (1915),' 'Intolerance (1916),' 'Broken Blossoms (1919),' 'Way Down East (1920)' and 'Orphans of the Storm (1921),' many of which I have yet to have the pleasure of seeing. Surprisingly, Griffith didn't start his movie career in directing at all. After he failed in his bid to become a playwright, the young man became an actor, finally discovering his niche in film directing.

However, before he started producing his spectacular feature-length epics, Griffith was a very prolific director of short films. Between 1908 and 1913, Griffith worked for the Biograph Company, producing a mammoth 450 films in the space of only six years, sometimes averaging a rate of two or three in a week. These Biographs allowed the young director to polish his film-making skills, experimenting with revolutionary techniques – such as cross-cutting, camera movement and close-ups – that would later become commonplace in practically every movie that followed. As we move through Griffith's early works, we watch as his short films slowly become more and more elaborate and ambitious. 'Those Awful Hats (1909)' is one of early shorts, and was really meant as nothing more than an amusing three-minute comedic skit to precede a film screening and remind the women in the audience to remove their head-wear.

The film is basically played out in a single take, with an audience of attentive cinema-goers seated comfortably in a movie theatre. Using a process known as the Dunning-Pomeroy Matte process, Griffith was able to split the frame into two sections, splicing the film-within-a-film onto the same screen. With the audience members seated peacefully, their film enjoyment is suddenly disrupted when a lady wearing an elaborate hat seats herself in the front row, blocking everybody else's view of the screen. There are gestures of protest, but the women is evidently completely oblivious, and the male audience members become further exasperated as several more women take their places at the front of the theatre, each wearing a more sophisticated piece of head-wear than the last. The scene turns into an enjoyable farce when a large steel contraption lowers from the ceiling to confiscate the troublesome hats, the machine inadvertently taking one of the women to the ceiling with it.

Aside from the historical significance of its being an early Griffith Biograph, there is nothing particularly phenomenal about 'Those Awful Hats.' However, it does effectively display the director's unique creative vision, proving – if his later films left you in any doubt – that the genius' mind does house a healthy sense of humour.