Another Job for the Undertaker

Plot

A country hayseed checks into a hotel room where a prominent sign warns 'Don't blow out the gas.' After the bellboy performs a somersault and disappears through the door, the rural guest places his hat and coat on a table, only to watch them vanish mysteriously. Ignoring the warning, he blows out the gas light, which instantly triggers a scene change to his own funeral procession. The film concludes with a hearse carrying his coffin, followed by carriages filled with his mourning country friends, creating a dark comedic warning about the dangers of gas lighting in early 20th century hotels.

Historical Background

This film was created during the very early days of commercial cinema, when films were typically only a few minutes long and shown as part of vaudeville programs or in penny arcades. The year 1901 saw the film industry transitioning from actualities (documentaries of real events) to narrative fiction films. Gas lighting was still common in urban hotels and homes, and the dangers it posed were a real concern for the public. The film reflects the period's fascination with modern technology and its hazards. Edison Manufacturing Company was one of the dominant forces in early American cinema, engaged in fierce competition with other studios like Biograph and Vitagraph. This was also the year before the formation of the Motion Picture Patents Company, which would attempt to monopolize the industry.

Making Of

The film was produced during a period when Edison Studios was experimenting with narrative storytelling and special effects. Edwin S. Porter, who had worked as a projectionist and camera operator, was developing his skills as a director. The production utilized the basic special effects available at the time, primarily stop-action and substitution splicing. The hotel room set was typical of Edison's studio productions, using painted backdrops and minimal props. The funeral procession scene would have required multiple actors and possibly a real hearse, suggesting this was one of Edison's more elaborate productions for its time. The film's simplicity belies the technical sophistication required for its era, as the seamless transitions between scenes required precise timing and editing skills.

Visual Style

The film was shot using early 35mm film stock and Edison's own cameras. The cinematography is straightforward and functional, typical of the period, with static camera positions and simple compositions. The hotel room scene uses a single wide shot to capture all the action, while the funeral procession scene may have used a slightly longer shot to accommodate the movement of the hearse and carriages. The lighting would have been natural or simple studio lighting, as sophisticated lighting techniques had not yet been developed. The visual style prioritizes clarity and legibility over artistic expression, as was typical for early narrative films.

Innovations

The film demonstrates early mastery of substitution splicing and stop-motion effects to create the illusion of disappearing objects. The abrupt transition from the hotel room to the funeral procession represents an early use of what would become known as a jump cut or match cut. The seamless editing required precise timing and careful planning, showing the growing sophistication of film editing techniques. The film also demonstrates early understanding of continuity and narrative structure, moving from setup to consequence in a clear, linear fashion.

Music

As a silent film, it had no synchronized soundtrack. When originally shown, it would have been accompanied by live music, typically a pianist or small ensemble in theaters, or possibly a phonograph in smaller venues. The musical accompaniment would have been improvised or selected from a library of appropriate pieces, likely including comic or dramatic music to match the on-screen action. For the funeral scene, mournful music would have been appropriate, while the hotel scenes might have featured lighter, more whimsical tunes.

Memorable Scenes

• The magical disappearance of the hayseed's hat and coat when placed on the table
• The instantaneous transition from the hotel room to the funeral procession after blowing out the gas
• The bellboy's somersault and mysterious exit through the door

What Critics Said

Contemporary reception of the film is largely unknown, as film criticism was not yet established as a profession in 1901. The Edison Catalog described it positively as a 'Strictly up-to-date picture,' suggesting the company promoted it as contemporary and relevant. Modern film historians recognize it as an important example of early narrative cinema and Edwin S. Porter's developing directorial style. Critics today appreciate it for its historical value and its demonstration of early special effects techniques. The film is often cited in studies of early cinema as an example of how filmmakers began to explore narrative possibilities beyond simple actualities.

What Audiences Thought

Early audiences reportedly enjoyed the film's magical effects and dark humor. The disappearing objects and sudden scene transition would have been impressive to viewers who had never seen such effects before. The film's cautionary theme about gas lighting would have resonated with contemporary audiences familiar with the dangers. As part of Edison's output, it likely circulated widely through the company's distribution network and was shown in venues ranging from penny arcades to more respectable theaters. The simple visual storytelling made it accessible to audiences of all backgrounds and literacy levels, which was important for early cinema's mass appeal.

You Might Also Like