A Beast at Bay
Plot
A young woman, played by Mary Pickford, becomes infatuated with a man she believes to be her ideal partner after meeting him socially. However, when her new suitor refuses to participate in a street brawl, she quickly labels him a coward and becomes disillusioned. Meanwhile, a violent convict has escaped from a nearby prison and ambushes a guard, stealing his uniform and weapon. As the couple drives in the woman's automobile, she continues to berate her suitor for his perceived cowardice, eventually dropping him off and driving off alone. The escaped convict then carjacks the young woman, taking her hostage. The young man, having witnessed the ambush, transforms from the accused coward into a determined hero as he sets out to rescue his beloved from the dangerous criminal.
About the Production
This film was produced during D.W. Griffith's prolific period at the Biograph Company, where he directed hundreds of short films. The production utilized the new technology of automobiles, which were still relatively novel in 1912 and added excitement to the chase sequences. The film was shot on location in California as the film industry was beginning its migration from the East Coast to the West Coast due to better weather conditions and diverse landscapes.
Historical Background
1912 was a pivotal year in American cinema, marking the transition from short novelty films to more sophisticated storytelling. The film industry was in the midst of relocating from New York to California, seeking better weather conditions and freedom from Thomas Edison's Motion Picture Patents Company monopoly. D.W. Griffith was at the height of his creative period at Biograph, developing many of the cinematic techniques that would define narrative cinema. The Progressive Era was in full swing, with social reforms and changing attitudes about gender roles reflected in the film's themes of courage and cowardice. Automobiles were transforming American society, and their inclusion in films like this one represented both technological progress and changing social dynamics. The year also saw the founding of Universal Film Manufacturing Company, signaling the beginning of the studio system that would dominate Hollywood for decades.
Why This Film Matters
'A Beast at Bay' represents an important transitional work in the development of American narrative cinema. It demonstrates D.W. Griffith's evolving mastery of film language, particularly in building suspense and developing character motivations. The film's exploration of gender expectations and the concept of courage versus cowardice reflects Progressive Era anxieties about changing social roles. Mary Pickford's performance showcases the star power that would make her one of the most influential figures in early Hollywood. The film's use of contemporary technology (automobiles) as plot devices illustrates cinema's role in documenting and popularizing modern life. As part of Griffith's extensive Biograph output, it contributed to the establishment of American film as a serious artistic medium capable of complex storytelling. The film also exemplifies the shift from simple chase comedies to more psychologically complex dramas that would characterize mature American cinema.
Making Of
The production of 'A Beast at Bay' exemplified the rapid-fire filmmaking methods of the Biograph Company under Griffith's direction. Griffith was known for his ability to complete films quickly, often shooting multiple projects simultaneously. Mary Pickford, who was already becoming a major star, had a complex professional relationship with Griffith - he helped launch her career but was also known for his demanding directing style. The automobile sequences were particularly challenging to film given the primitive state of automotive technology and the limitations of early film equipment. The film was shot during the industry's crucial transition period from the East Coast to California, with Biograph being one of the first companies to establish regular production facilities in the Los Angeles area. Griffith was already experimenting with narrative techniques that would become standard in cinema, including the use of parallel action and building suspense through editing.
Visual Style
The cinematography of 'A Beast at Bay' reflects the transitional state of film techniques in 1912. The film was likely shot by Billy Bitzer or another Biograph cameraman, utilizing the natural lighting techniques that Griffith favored. The mobile camera work during the automobile sequences was particularly innovative for the period, requiring specialized equipment to track moving vehicles. The film employs cross-cutting between parallel actions to build suspense, a technique Griffith was helping to perfect during this period. The visual composition shows Griffith's emerging mastery of framing and spatial relationships within the two-dimensional image. Location shooting in California provided varied backgrounds that enhanced the visual interest of the outdoor scenes. The cinematography balances static compositions for dialogue scenes with more dynamic movement during action sequences, demonstrating an understanding of how visual style can serve narrative needs.
Innovations
While not revolutionary, 'A Beast at Bay' incorporated several technical achievements that were advancing the art of cinema in 1912. The film's use of mobile camera work during the automobile sequences was technically challenging and innovative for the period. Griffith's cross-cutting between parallel actions to build suspense represented an evolving understanding of film editing's narrative potential. The film demonstrates the increasing sophistication of location shooting, taking advantage of California's varied landscapes. The production utilized the latest film stock and camera equipment available to the Biograph Company. The integration of contemporary technology (automobiles) into the narrative shows how filmmakers were adapting to modern life. The film's pacing and rhythm demonstrate an advanced understanding of how editing can control audience emotional response. The work represents the refinement of continuity editing techniques that were becoming standard in American cinema.
Music
As a silent film, 'A Beast at Bay' would have been accompanied by live musical performance during its theatrical run. The typical Biograph presentation would have featured a pianist or small ensemble providing improvised or selected musical accompaniment. The music would have been synchronized with the on-screen action, using popular songs of the era and classical pieces to enhance emotional moments. During suspenseful sequences, particularly the carjacking and rescue scenes, the music would have become more dramatic and rapid-paced. Romantic moments between the leads would have been accompanied by popular love songs of the period. The exact musical selections would have varied by theater and musician, though certain musical conventions for indicating danger, romance, and triumph were well-established by 1912. The lack of a fixed soundtrack meant that each viewing experience could be unique depending on the skill and interpretation of the accompanying musicians.
Famous Quotes
"You call yourself a man and yet you won't fight!"
"I thought you were my ideal, but you're nothing but a coward!"
"I'll save her if it costs me my life!"
Memorable Scenes
- The dramatic carjacking sequence where the escaped convict ambushes the young woman's automobile, creating immediate tension and danger. The transformation scene where the accused coward proves his courage by pursuing the criminal on foot, demonstrating character development through action rather than dialogue.
Did You Know?
- This was one of approximately 450 short films D.W. Griffith directed for the Biograph Company between 1908 and 1913.
- Mary Pickford, who would later become known as 'America's Sweetheart' and co-found United Artists, was one of Griffith's most frequently used actresses during this period.
- The film was released just a few years before Griffith would revolutionize cinema with his controversial epic 'The Birth of a Nation' (1915).
- Automobiles were still a luxury item in 1912, making the car scenes particularly exciting for contemporary audiences.
- The film demonstrates Griffith's early mastery of suspense and cross-cutting techniques that would become hallmarks of his later work.
- Biograph films of this era were typically one-reelers running about 15 minutes, though this one runs slightly longer at 17 minutes.
- The film was shot during the transitional period when the industry was moving from New York to California.
- Edwin August, who plays the male lead, was a popular leading man of the silent era who also directed films.
- The escaped convict theme was a popular trope in early cinema, playing on contemporary fears about law and order.
- This film was released before the Motion Picture Company censorship codes were strictly enforced, allowing for more dramatic violence.
What Critics Said
Contemporary critical reception for 'A Beast at Bay' was generally positive, with reviewers praising its suspenseful narrative and Mary Pickford's compelling performance. The film was noted in trade publications like The Moving Picture World and Variety as an example of Biograph's high production values and Griffith's skillful direction. Modern film historians view the work as an important example of Griffith's development as a director, particularly his growing sophistication in creating dramatic tension and character depth. The film is often cited in studies of early cinema as demonstrating the rapid evolution of film language from simple spectacle to complex narrative. Critics have noted how the film's structure anticipates later thriller and action genres, with its clear protagonist-antagonist dynamics and rescue narrative. The work is generally regarded as a solid example of Griffith's Biograph period, though not as groundbreaking as some of his other films from the same era.
What Audiences Thought
Audiences in 1912 responded positively to 'A Beast at Bay,' particularly enjoying its suspenseful plot and the presence of the increasingly popular Mary Pickford. The film's combination of romance, danger, and action appealed to the diverse audiences attending nickelodeons and small theaters of the era. The automobile scenes were especially popular, as cars were still a novelty for most viewers and added excitement to the narrative. The clear moral framework and satisfying resolution aligned with audience expectations of the period. Pickford's growing star power undoubtedly contributed to the film's commercial success, as she was becoming one of the first true movie stars with a dedicated following. The film's relatively straightforward narrative and emotional clarity made it accessible to the increasingly diverse immigrant audiences that constituted a significant portion of early cinema patrons.
Film Connections
Influenced By
- Earlier Biograph shorts by Griffith
- Contemporary stage melodramas
- Dime novel adventure stories
- French crime serials
This Film Influenced
- Later Griffith Biograph shorts
- Early action serials
- Rescue-themed melodramas of the 1910s
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Film Restoration
The film is preserved in the Library of Congress collection and has been restored by film preservationists. Prints exist in several film archives including the Museum of Modern Art and the British Film Institute. The restoration has maintained the original tinting that was common in Biograph films of this period.