Edgar Allan Poe

Plot

In this dramatized episode of Edgar Allan Poe's life, the tormented poet struggles desperately to earn money as his beloved lies dying from consumption. Poe attempts to sell his manuscripts to publishers but faces constant rejection and financial hardship, all while watching his lover's condition worsen. The film portrays his anguish as he tries to balance his creative pursuits with the urgent need for funds to provide care and medicine. As death approaches, Poe is shown in moments of despair and tender devotion to his dying companion. The narrative culminates in Poe's grief and isolation following his lover's passing, highlighting the personal suffering that fueled much of his dark literary work.

Historical Background

In 1909, the American film industry was still in its infancy, with nickelodeons showing short films that lasted only 10-15 minutes. The Biograph Company was one of the leading production houses, and D.W. Griffith, who had begun directing that year, was revolutionizing the medium with his innovative techniques. This period saw cinema transitioning from simple novelty acts to a legitimate storytelling medium. The film emerged during the Progressive Era, when American society was grappling with industrialization, urbanization, and changing social norms. The choice of Edgar Allan Poe as a subject reflected the growing cultural legitimacy of cinema, as producers sought to adapt respected literary works to attract middle-class audiences. 1909 also saw significant technological developments in film, including improvements in lighting and camera stability that allowed for more sophisticated visual storytelling.

Making Of

The production of 'Edgar Allan Poe' took place during a pivotal moment in cinema history when D.W. Griffith was rapidly developing his directorial craft. Working at Biograph's Manhattan studio, Griffith was experimenting with more sophisticated narrative techniques, including cross-cutting and close-ups to convey emotional states. The casting of his wife Linda Arvidson as the dying lover was common practice for Griffith, who frequently used her in his early films. The film was shot quickly under the constraints of Biograph's factory-like production system, with Griffith expected to complete multiple films each week. Despite these limitations, Griffith managed to infuse the production with a level of psychological depth unusual for the period. The film's emphasis on Poe's internal struggle and emotional pain represented Griffith's growing interest in character-driven drama rather than mere spectacle or comedy.

Visual Style

The cinematography of 'Edgar Allan Poe' reflects the techniques and limitations of the Biograph Company in 1909. The film was shot by Biograph's regular cameraman G.W. Bitzer, who worked closely with Griffith throughout this period. The visual style uses static camera positions typical of the era, but Griffith was already beginning to vary shot distances to emphasize emotional moments. The lighting was natural and supplemented by arc lamps when filming indoors, creating dramatic contrasts that enhanced the Gothic atmosphere. The composition carefully frames actors to convey their emotional states, with Poe often shown in isolation to emphasize his alienation. The film uses the limited depth of field of the period to create visual focus on the main characters. The visual aesthetic incorporates elements of stage melodrama while beginning to explore cinematic techniques specific to the medium.

Innovations

While 'Edgar Allan Poe' does not feature groundbreaking technical innovations, it demonstrates several important developments in cinematic technique that were emerging in 1909. The film shows Griffith's early use of varying shot distances to emphasize emotional moments, moving away from the single wide shot that dominated early cinema. The editing creates a sense of narrative continuity and emotional progression that was more sophisticated than many contemporary films. The film's pacing and rhythm demonstrate Griffith's growing understanding of how to control audience attention through editing. The production also benefited from Biograph's relatively advanced film stock and processing techniques, which provided better image quality than many competitors. The film's survival through the Library of Congress paper print collection represents an important preservation achievement of the era.

Music

As a silent film, 'Edgar Allan Poe' would have been accompanied by live musical performance during its original exhibition. The typical Biograph theater presentation included a pianist or small ensemble providing musical accompaniment that matched the mood of each scene. For dramatic films like this, the music would have included romantic melodies for scenes with Poe and his lover, somber minor-key pieces for moments of despair, and more agitated music during Poe's struggles. The score likely drew from popular classical pieces and theater music of the period, with improvisation based on cue sheets provided by Biograph. No specific musical score was composed for the film, as was standard practice in 1909. The musical accompaniment played a crucial role in conveying the emotional tone of the story and helping audiences interpret the silent performances.

Memorable Scenes

• Poe desperately attempting to sell his manuscripts to indifferent publishers while his lover lies dying
• The tender bedside scenes where Poe cares for his suffering companion
• Poe's moments of anguished solitude as he confronts his poverty and helplessness
• The final deathbed scene emphasizing Poe's isolation and grief

What Critics Said

Contemporary critical reception of the film is difficult to trace, as film criticism was still in its infancy in 1909. The trade publication Moving Picture World noted the film's 'artistic treatment' and praised its emotional impact. Modern critics and film historians view the film as an important example of Griffith's early work, demonstrating his rapid development as a director interested in psychological drama. The film is often cited as evidence of Griffith's early experiments with narrative complexity and character development. Film historian Eileen Bowser has noted that the film 'shows Griffith already pushing beyond the simple formulas of early cinema toward more sophisticated storytelling.' The film is generally regarded by scholars as a significant step in the evolution of American narrative cinema, though it is considered less accomplished than Griffith's later masterpieces.

What Audiences Thought

Audience reception in 1909 is difficult to document precisely, but films featuring literary figures like Poe were generally popular with nickelodeon audiences seeking more sophisticated fare than typical comedies and chase films. The tragic romance elements likely appealed to the predominantly female audience that frequented nickelodeons during this period. The film's emotional intensity and focus on romantic tragedy would have been relatively novel for audiences accustomed to more straightforward action and comedy. Contemporary accounts suggest that audiences responded positively to films that demonstrated emotional depth and character development, indicating that 'Edgar Allan Poe' was likely well-received. The film's subject matter also capitalized on the enduring public fascination with Poe's mysterious life and works, which had made him a cultural icon decades after his death.

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