Money Mad

Plot

Money Mad tells the story of an elderly miser who has accumulated his wealth through theft and keeps his ill-gotten gains hidden in a secret cellar beneath his home. The miser, reminiscent of Molière's Harpagon character, visits the bank to exchange his stolen paper currency for gold coins, a transaction witnessed by two opportunistic criminals who immediately recognize their chance for easy riches. As the miser returns home with his heavy bag of gold, the thieves follow him with malicious intent, planning to relieve him of his treasure. The film explores how greed and avarice affect not only the miser who has hoarded his wealth but also those who seek to take it from him, suggesting that the desire for money corrupts all who come under its influence. In a dramatic confrontation, the thieves attempt to steal the gold, leading to a violent struggle that demonstrates the destructive power of greed. The narrative serves as a moral tale about the corrupting influence of wealth and the universal nature of human greed.

Historical Background

Money Mad was produced in 1908, a crucial year in the development of American cinema and the early career of D.W. Griffith. This period saw the transition from short novelty films to more narrative-driven cinema, with filmmakers beginning to explore the potential of the medium for storytelling. The film industry was still in its infancy, with nickelodeons providing the primary venue for motion pictures, and audiences consisting largely of working-class immigrants seeking affordable entertainment. The year 1908 also saw the formation of the Motion Picture Patents Company, an attempt by major producers to control the industry through patent pooling. Griffith's work at Biograph during this time was instrumental in developing the language of cinema, including camera movement, editing techniques, and narrative structures that would become standard in filmmaking. The themes of greed and moral corruption in Money Mad reflected Progressive Era concerns about the excesses of industrial capitalism and the moral decay of urban life.

Making Of

The making of Money Mad occurred during a pivotal period in D.W. Griffith's career, as he was transitioning from actor to director at American Biograph. Griffith had only begun directing in 1908, and Money Mad was among his earliest directorial efforts. The film was shot quickly, as were all Biograph productions of this era, typically completed in a single day with minimal rehearsal. Charles Inslee, who portrays the miser, was a seasoned stage actor who brought theatrical techniques to his screen performance, which was common in this transitional period between stage and screen acting styles. The production team used natural lighting for outdoor scenes and rudimentary artificial lighting for interior shots, as the technology for film lighting was still in its infancy. The film's editing was straightforward, with long takes and minimal cutting, reflecting the technical limitations and aesthetic preferences of early cinema. Griffith was already beginning to develop his signature techniques of cross-cutting and parallel action, though these would become more sophisticated in his later works.

Visual Style

The cinematography of Money Mad reflects the technical limitations and aesthetic preferences of 1908 filmmaking. The film was likely shot by Biograph's regular cinematographers, including G.W. Bitzer or Arthur Marvin, using hand-cranked 35mm cameras. The camera work is relatively static, with fixed positions and minimal movement, which was standard for the period. The film employs basic lighting techniques, utilizing natural light for exterior scenes and rudimentary artificial lighting for interior sequences. The composition follows theatrical conventions, with characters often positioned centrally and the camera maintaining a medium distance that captures full bodies rather than close-ups. Despite these technical constraints, Griffith was already beginning to experiment with camera angles and positioning to create dramatic emphasis, techniques that would become more sophisticated in his later works. The black and white cinematography creates stark contrasts that enhance the film's moral themes, particularly in scenes involving the hidden gold and the dark cellar where the miser stores his treasure.

Innovations

While Money Mad does not feature major technical innovations, it represents the refinement of existing techniques that were advancing the art of cinema in 1908. The film demonstrates improved narrative continuity compared to earlier works, with Griffith beginning to develop more sophisticated editing techniques to maintain story flow. The use of location shooting combined with studio sets shows the increasing mobility of film production and the growing ability to create more varied visual environments. The film's pacing and structure reflect an understanding of audience attention spans and the need to maintain engagement throughout the one-reel format. Griffith's direction shows early experimentation with cross-cutting between different story elements, a technique that would become more refined and influential in his later works. The film also demonstrates the improving quality of film stock and camera equipment, allowing for clearer images and more reliable shooting conditions than were possible just a few years earlier.

Music

As a silent film from 1908, Money Mad was originally presented without synchronized sound or recorded music. Theatrical screenings would have been accompanied by live musical performance, typically a pianist or small ensemble playing popular songs of the era or classical pieces appropriate to the film's mood. The choice of music was left to individual theater musicians, though Biograph sometimes provided suggestions for appropriate musical accompaniment. For scenes involving the miser's greed, musicians might have played dramatic, tension-building pieces, while action sequences would have called for more exciting, fast-paced music. The moral resolution of the story would have been underscored with uplifting or triumphant music. Modern screenings of the film often feature newly composed scores or carefully selected period-appropriate music that enhances the viewing experience while respecting the film's historical context.

Memorable Scenes

• The miser's secret counting of his stolen gold in the dark cellar, lit only by candlelight, creating an atmosphere of secrecy and guilt
• The tense bank scene where the miser exchanges his stolen notes for gold, with the two thieves observing from a distance, their eyes gleaming with opportunity
• The dramatic confrontation in the cellar where the thieves attempt to steal the gold, resulting in a violent struggle that demonstrates the destructive power of greed
• The final moral resolution where justice is served, reinforcing the film's message about the consequences of avarice

What Critics Said

Contemporary critical reception of Money Mad in 1908 was limited, as film criticism was still in its infancy and most publications focused on basic plot descriptions rather than detailed analysis. The film was generally well-received by audiences of the time, who appreciated its clear narrative and moral message. Trade publications like The Moving Picture World noted the film's effective storytelling and strong performances, particularly praising Charles Inslee's portrayal of the miser. Modern film historians and critics view Money Mad as an important example of Griffith's early work, demonstrating his developing skills as a director and his interest in moral themes. The film is often cited in scholarly works about early American cinema as evidence of Griffith's rapid development as a filmmaker and his contributions to establishing narrative conventions in film. Critics today appreciate the film's place in cinema history while acknowledging its technical limitations compared to later works.

What Audiences Thought

Contemporary audiences in 1908 generally responded positively to Money Mad, as it provided clear entertainment with a satisfying moral resolution. The film's straightforward narrative about greed and its consequences resonated with nickelodeon audiences, many of whom were working-class individuals familiar with stories of economic struggle and moral temptation. The dramatic confrontation between the miser and the thieves provided the kind of excitement that early cinema audiences sought, while the moral ending reinforced prevailing social values about the dangers of greed. Audience reactions were typically expressed through applause and attendance figures rather than written reviews, and Money Mad appears to have performed adequately in Biograph's distribution circuit. Modern audiences viewing the film through archives and film festivals often appreciate it as a historical artifact that provides insight into early 20th-century values and cinematic techniques, though its pacing and acting style may seem dated to contemporary viewers.

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