Lena and the Geese

Plot

A noblewoman sends away her first-born daughter to be raised by Gretchen, a peasant widow who already has a child of similar age. The two girls grow up as loving sisters, with the noblewoman's daughter unaware of her true heritage. On her deathbed, the repentant noblewoman sends for her child to restore her rightful position. Seizing this opportunity, Gretchen sends her own daughter Lena, the simple goose girl, to court instead of the true heiress. Lena struggles with her new role as a lady, longing for her simple life with Gretchen and the geese she loves, while the noblewoman remains blissfully unaware that she has been deceived.

Historical Background

1912 was a pivotal year in cinema history, occurring during the transition from short films to feature-length motion pictures. The film industry was still establishing itself as a legitimate art form and commercial enterprise. D.W. Griffith was at the forefront of cinematic innovation, developing techniques like cross-cutting, close-ups, and sophisticated narrative structures. The United States was experiencing rapid industrialization and urbanization, while also grappling with questions of social class and identity - themes reflected in this film. The Progressive Era was in full swing, with growing interest in social reform and the plight of the working class, which may have influenced the film's sympathetic portrayal of peasant life. This was also the year the Titanic sank, an event that captured public attention and demonstrated the power of mass media in shaping public consciousness.

Making Of

The filming of 'Lena and the Geese' took place during Griffith's incredibly productive period at Biograph, where he was essentially creating the language of cinema through trial and error. The production team faced challenges working with live geese, requiring careful choreography to capture the scenes without agitating the animals. Mary Pickford, already showing the star quality that would make her famous, brought depth to the simple goose girl character. The film was shot quickly, as was typical of the era, with Griffith often completing multiple films in a single week. The outdoor scenes utilized natural light, as artificial lighting technology was still primitive. The cast and crew worked in a collaborative atmosphere that was characteristic of early Biograph productions, with actors often contributing to character development and blocking.

Visual Style

The cinematography of 'Lena and the Geese' reflects the technical limitations and artistic conventions of 1912. The film was likely shot on 35mm film using hand-cranked cameras, resulting in variable frame rates by modern standards. G.W. 'Billy' Bitzer, Griffith's regular cinematographer, may have been involved, bringing his innovative approach to visual storytelling. The film utilizes natural lighting for outdoor scenes, creating a soft, authentic look that was characteristic of Biograph productions. Camera movement was limited to what could be achieved with tripods and dollies of the era. The compositions show Griffith's developing sense of visual narrative, with careful attention to framing and character placement. The goose scenes required particular technical skill to capture movement and maintain focus. The black and white cinematography creates a timeless quality that enhances the fairy-tale nature of the story.

Innovations

While not technically groundbreaking by Griffith's standards, 'Lena and the Geese' demonstrates several technical achievements common to quality Biograph productions of 1912. The film shows effective use of continuity editing to maintain narrative coherence across multiple scenes. The outdoor sequences demonstrate skill in managing natural lighting conditions, a challenge for early filmmakers. The coordination of live animals (geese) with human actors required careful planning and multiple takes. The film's pacing and rhythm reflect Griffith's growing mastery of temporal manipulation through editing. The use of location shooting rather than studio sets added authenticity to the pastoral scenes. The preservation of the film itself represents a technical achievement, as many films from this period have been lost to nitrate decomposition.

Music

As a silent film, 'Lena and the Geese' would have been accompanied by live musical performance during its original theatrical run. The typical accompaniment might have included a pianist or small ensemble playing popular music of the era, classical pieces, or specially compiled cue sheets that matched the mood of each scene. The music would have emphasized the emotional moments - tender themes for the sisterly bond, dramatic music for the deception, and pastoral melodies for the goose scenes. No original score was composed specifically for the film, as was common practice in 1912. Modern screenings of the film are typically accompanied by newly composed scores or carefully selected period-appropriate music that enhances the viewing experience while respecting the film's historical context.

Memorable Scenes

• Lena's reluctance to leave her geese for court life
• The touching scenes of the two girls growing up as sisters
• Gretchen's decision to switch the children
• Lena's awkward attempts to behave as a lady in court
• The final scenes where Lena longs for her simple life

What Critics Said

Contemporary critical reception for short films in 1912 was limited, as film criticism was still in its infancy. Trade publications like The Moving Picture World likely noted the film's release and possibly praised Mary Pickford's performance. Modern critics and film historians view the film as an important example of Griffith's early work and Pickford's emerging stardom. The film is appreciated for its narrative clarity and emotional resonance within the constraints of early cinema. Film scholars often cite such Biograph shorts as crucial steps in Griffith's development as a director and his contribution to cinematic language. The film is generally regarded as a solid example of the quality and sophistication achieved by American cinema by 1912.

What Audiences Thought

Audiences in 1912 would have viewed 'Lena and the Geese' as part of a varied program of short films, typically accompanied by live music and possibly other entertainment. Mary Pickford was already building a fan base, and audiences would have been drawn to her performance. The film's clear narrative and emotional appeal would have resonated with early moviegoers who were still adapting to the new medium of cinema. The themes of mistaken identity and class reversal were popular with audiences of the era, providing both entertainment and moral lessons. Contemporary audience reactions are not extensively documented, but the film's survival suggests it was considered valuable enough to preserve. Modern audiences viewing the film in archival settings appreciate it as a window into early 20th century storytelling and the beginnings of American cinema.

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