
"A Father's Ambition - A Son's Ruin"
A concerned father, played by Charles Hill Mailes, creates a popular soda beverage called 'Dopokoke' that contains cocaine, hoping to secure his son's financial future. The drink becomes wildly successful with its advertising promise of relief 'for that tired feeling,' but the father's good intentions backfire when his own son, portrayed by Charles West, becomes addicted to the dangerous concoction. As the son's health deteriorates and his life spirals out of control due to his addiction, the father is consumed by guilt and remorse for having created the substance that is destroying his child. The film culminates in a powerful moral lesson about the devastating consequences of prioritizing profit over human welfare, particularly when it comes to one's own family. Blanche Sweet appears in a supporting role as the son's concerned girlfriend, who witnesses his tragic downfall.
This film was part of D.W. Griffith's prolific period at Biograph Company, where he directed hundreds of short films. The production utilized Biograph's standard practice of filming on location whenever possible, which was innovative for the time. The film was shot on 35mm black and white film stock typical of the era, with Griffith experimenting with cross-cutting techniques to build emotional tension between the father's business success and the son's declining health.
The film was produced during a pivotal period in American history when public awareness of drug addiction was growing. The early 1910s saw increasing scrutiny of patent medicines and soft drinks that contained addictive substances. Coca-Cola, which had originally contained trace amounts of cocaine when invented in 1886, had removed it by 1903, but public suspicion remained. The Pure Food and Drug Act of 1906 had begun to regulate the industry, but enforcement was still weak. This film emerged alongside the temperance movement's growing influence and just two years before the Harrison Narcotics Tax Act of 1914 would significantly restrict cocaine and opiates. In cinema, 1912 was a transitional year as filmmakers moved from simple actualities and trick films toward more complex narrative storytelling with social relevance.
'For His Son' represents an early example of cinema's role as social commentary and moral education. The film was part of a broader movement in early American cinema that addressed contemporary social issues, from labor disputes to urban poverty. Its focus on drug addiction was remarkably progressive for its time, predating Hollywood's more famous drug films by decades. The movie contributed to public discourse about the dangers of unregulated commercial products and the ethical responsibilities of businesses. It also demonstrated cinema's potential to influence public opinion and social policy, a role that would become increasingly important throughout the 20th century. The film's survival and preservation allow modern audiences to understand how early filmmakers engaged with the moral and social challenges of their era.
The production of 'For His Son' took place during D.W. Griffith's most innovative period at Biograph Company. Griffith was developing his cinematic language, experimenting with techniques that would become hallmarks of classical Hollywood cinema. The film was likely shot in just a few days, as was typical for Biograph shorts of this era. Charles Hill Mailes, who played the father, was a regular in Griffith's company and often portrayed paternal figures. The casting of Charles West as the son was strategic, as he had the ability to convincingly portray the physical and emotional deterioration of an addict. Blanche Sweet, though young, was already establishing herself as one of Griffith's most reliable actresses. The film's moralistic tone reflected Griffith's own conservative values while also addressing contemporary social concerns about the unregulated patent medicine industry.
The cinematography, handled by Biograph's regular cameramen, utilized the standard visual style of the period while incorporating Griffith's emerging innovations. The film employed medium shots for dialogue scenes and close-ups for emotional moments, techniques Griffith was helping to popularize. The lighting was naturalistic, often filmed outdoors or in sets with large windows to maximize available light. The camera work included subtle movements and framing choices that enhanced the dramatic impact, particularly in scenes contrasting the father's business success with the son's physical decline.
While not technically groundbreaking, the film demonstrated Griffith's mastery of narrative techniques that were still developing in 1912. The effective use of cross-cutting between the father's business activities and the son's addiction created dramatic tension and visual irony. The film's pacing and editing showed sophisticated understanding of how to build emotional impact through visual storytelling. The production also benefited from Biograph's high-quality film stock and processing, which ensured good image quality for the period.
As a silent film, 'For His Son' would have been accompanied by live musical performance during its original theatrical run. Typical accompaniment would have included a pianist or small orchestra playing appropriate mood music. The score likely included popular songs of the era as well as classical pieces adapted to fit the film's emotional beats. For dramatic moments, tense or melancholic music would have been played, while business success scenes might have featured more upbeat selections. The exact musical selections would have varied by theater and musician.
'Dopokoke - for that tired feeling'
'I did it for you, my son!'
'The success I wanted has become your destruction'
Contemporary reviews in trade publications like The Moving Picture World praised the film's moral message and Griffith's directorial skill. Critics noted the film's timely subject matter and its effective use of melodramatic conventions to convey a serious social warning. The performances, particularly Charles Hill Mailes as the tormented father, were commended for their emotional authenticity. Modern film historians view 'For His Son' as an important example of Griffith's social consciousness and his development as a cinematic storyteller. Scholars often cite it as evidence of early cinema's engagement with contemporary social issues beyond mere entertainment.
The film was well-received by audiences of its time, who appreciated its clear moral message and emotional storytelling. Contemporary theater owners reported good attendance for the film, as its subject matter resonated with public concerns about patent medicines and drug addiction. The film's dramatic elements and relatable family conflict made it popular with general audiences, while its social commentary appealed to reform-minded viewers. In the context of 1912 cinema-going, where audiences often watched multiple short films in one program, 'For His Son' stood out for its serious tone and contemporary relevance.
The film is preserved in the Museum of Modern Art's film collection and has been restored by various film archives. A 35mm nitrate copy exists and has been transferred to safety film for preservation purposes. The film is also available through the Library of Congress and various film archive collections. While some minor deterioration is evident due to the age of the original material, the film remains largely intact and viewable.