Resurrection
Plot
Based on Leo Tolstoy's final novel, 'Resurrection' follows Prince Dmitri Nekhludoff, a wealthy Russian nobleman serving as a juror in a murder trial. He is horrified to recognize the defendant, Katusha Maslova, as a young woman he had seduced and abandoned years earlier, an act that ultimately led her to a life of prostitution and now to this trial for a crime she may not have committed. Overwhelmed with guilt and realizing his direct responsibility for her downfall, Nekhludoff embarks on a profound spiritual and moral journey to atone for his past sins. He uses his influence and resources to appeal her conviction, following her on the grueling journey to Siberian labor camps and sacrificing his social standing, wealth, and engagement to a wealthy princess in the process. The film chronicles his transformation from a self-absorbed aristocrat to a man seeking redemption through selfless action, as he strives to save Katusha and resurrect his own soul in the process.
About the Production
This film was one of D.W. Griffith's earliest directorial efforts for Biograph and showcases his burgeoning talent for cinematic storytelling and emotional depth. As with all Biograph productions of this era, it was shot on 35mm film in a 1.33:1 aspect ratio. The production was completed in just a few days, typical of the rapid output demanded by the studio system. The film's narrative, adapted from a complex literary source, was a significant challenge to condense into the short runtime of a one-reeler, forcing Griffith to develop his skills in visual shorthand and ellipsis. The costumes and sets were designed to evoke 19th-century Russia, a testament to the studio's efforts to lend authenticity to its productions despite the limitations of shooting in New Jersey.
Historical Background
The year 1909 was a pivotal one in the history of cinema and the world. The film industry was rapidly transitioning from novelty to a legitimate form of mass entertainment, with nickelodeons flourishing in urban centers across the United States. D.W. Griffith, still a relatively new director at Biograph, was in the process of revolutionizing the language of cinema, pioneering techniques like cross-cutting, close-ups, and more nuanced acting that would define narrative film for decades. 'Resurrection' was produced during this fertile period of experimentation. Globally, the world was on the cusp of immense change; tensions were building that would lead to World War I, and old social orders were being questioned. The film's source material, Tolstoy's critique of social hypocrisy and the justice system, resonated with the Progressive Era's spirit of reform in the United States, a time when issues like poverty, corruption, and women's rights were at the forefront of public discourse. Adapting such a serious, socially conscious novel for the screen was a statement about cinema's potential to be more than just simple amusement.
Why This Film Matters
While not as famous as Griffith's later epics like 'The Birth of a Nation' or 'Intolerance,' 'Resurrection' holds significant cultural importance as an example of the artistic ambitions of early narrative cinema. It demonstrates an early attempt to tackle complex, adult themes drawn from world literature, moving beyond the simple chases, comedies, and trick films that dominated the first decade of moviemaking. The film is a testament to D.W. Griffith's rapid development as a filmmaker who saw the potential for cinema to be a vehicle for serious drama and social commentary. It also highlights the crucial role of Florence Lawrence, whose performance helped solidify the idea that actors could be the primary draw for audiences, a concept that would lead to the creation of the star system. Furthermore, its existence as an adaptation of Tolstoy helped establish a precedent for the literary adaptation, a practice that would become a cornerstone of the film industry, lending cultural weight to the new medium and helping it gain acceptance as a legitimate art form.
Making Of
The making of 'Resurrection' in 1909 provides a fascinating glimpse into the early studio system under D.W. Griffith at Biograph. The film was shot at Biograph's main studio in the Bronx, New York, and on location in the burgeoning film town of Fort Lee, New Jersey. Griffith, a prolific director even then, was tasked with adapting Tolstoy's monumental novel into a film running under 20 minutes, a feat of narrative compression that required immense skill. He relied on his actors, particularly the expressive Florence Lawrence and Arthur V. Johnson, to convey complex emotions and backstory through gesture and facial expression, as intertitles were used sparingly. The production design was rudimentary by modern standards, using painted backdrops and minimal props to suggest the grandeur of Russian aristocracy and the bleakness of Siberian exile. The entire project, from script to final cut, would have been completed in a matter of days, reflecting the factory-like efficiency of the Biograph studio, which aimed to release two new films every week to satisfy the insatiable demand of nickelodeon theaters.
Visual Style
The cinematography for 'Resurrection,' handled by Biograph's chief cameraman G.W. 'Billy' Bitzer (or one of his associates under his supervision), was typical of the high standard for the studio. The camera was largely static, as was the norm, but Griffith was already beginning to explore its expressive potential. The film would have utilized a variety of shots, including medium shots to capture the actors' performances and longer shots to establish scenes like the courtroom or the prison yard. Lighting would have been rudimentary, primarily using natural light from studio windows or sunlight for outdoor scenes, creating high-contrast images. Bitzer and Griffith were experimenting with the use of focus and framing to guide the audience's attention, a subtle but crucial development in cinematic language. The visual storytelling was key, as the film had to convey a complex plot with minimal intertitles, relying on the composition of the frame and the actors' blocking to communicate the narrative and emotional shifts.
Innovations
While 'Resurrection' does not feature a single, groundbreaking technical innovation, it represents a key step in the technical and narrative evolution of cinema. Its primary achievement lies in the sophisticated editing required to condense Tolstoy's vast novel into a coherent and emotionally resonant 16-minute story. D.W. Griffith's use of parallel editing, cutting between Nekhludoff's growing guilt and Katusha's suffering, was a technique he was perfecting during this period to build suspense and thematic connections across different storylines. The film also showcases an advanced use of intertitles for the time, using them not just to label scenes but to convey essential narrative transitions and character thoughts. The effective use of location shooting in Fort Lee, combined with studio sets, demonstrates an early approach to creating a believable world beyond the confines of the studio stage. These combined techniques in service of a complex literary adaptation mark 'Resurrection' as a significant technical achievement in the development of American narrative film.
Music
As a silent film, 'Resurrection' did not have an original synchronized soundtrack or score. The musical accompaniment would have been provided live at each exhibition venue. In a small nickelodeon, this might have been a single pianist playing a selection of popular tunes or classical pieces from a cue book that matched the on-screen mood. For more elaborate presentations in larger theaters, a small ensemble or even a full orchestra might have performed, using specially compiled scores that combined classical works (like pieces by Tchaikovsky or other Russian composers to evoke the setting) with original incidental music. The music was crucial for setting the tone, underscoring the drama of the courtroom scene, the pathos of Katusha's plight, and the nobility of Nekhludoff's quest for redemption. The specific music would have varied from theater to theater, as there was no standardized score distributed with the film print.
Famous Quotes
As a silent film, 'Resurrection' contains no spoken dialogue. Memorable quotes would be derived from intertitles, which were often terse narrative cues. For example, an intertitle might have read: 'Years later, he meets her again—on trial for her life!'
Memorable Scenes
- The pivotal moment in the courtroom when Prince Nekhludoff recognizes the defendant, Katusha, and the full weight of his past actions crashes down upon him. The scene relies entirely on the shocked and horrified expression of actor Arthur V. Johnson to convey the character's profound epiphany and guilt, a powerful example of silent film acting.
Did You Know?
- This film is an adaptation of the final, and longest, novel by the celebrated Russian author Leo Tolstoy, published in 1899.
- At 16 minutes, it represents a significant undertaking for the time, attempting to condense a vast, complex novel into a one-reel format, a challenge that pushed D.W. Griffith to develop more sophisticated narrative techniques.
- The film stars Florence Lawrence, known as 'The Biograph Girl' and often cited as 'the first movie star,' though she was not publicly named by the studio at the time of this film's release.
- Arthur V. Johnson, who plays Nekhludoff, was one of Griffith's most frequent collaborators in his early Biograph period, appearing in dozens of films together.
- The story's themes of social injustice, moral responsibility, and class critique were quite bold for American cinema in 1909, reflecting Griffith's early interest in serious social subjects.
- This was one of over 40 short films D.W. Griffith directed for Biograph in the year 1909 alone, a staggering rate of productivity that helped him hone his directorial craft.
- The film was part of a wave of early American cinema that drew heavily from classic literature, lending cultural legitimacy to the new medium of motion pictures.
- The original novel, 'Resurrection,' was highly controversial for its critique of the Russian Orthodox Church and the justice system, elements which were necessarily softened or condensed for the 1909 film adaptation.
- Marion Leonard, who plays a supporting role, would later become one of the first actresses to receive on-screen credit, helping to pave the way for the star system.
What Critics Said
Contemporary critical reception for specific one-reel films in 1909 is sparse, as trade publications like the Moving Picture World and Variety focused more on general industry trends and reviews of entire programs rather than individual shorts. However, films from D.W. Griffith's Biograph period were generally well-regarded for their superior quality and storytelling prowess compared to the output of other studios. A film like 'Resurrection,' with its literary source and serious tone, would have been noted in the trade papers for its ambition and likely praised for its dramatic power and the performances of its leading players. Modern critics and film historians view 'Resurrection' as a significant early work in Griffith's filmography. It is studied as an example of his early mastery of narrative construction within the severe constraints of the one-reel format and as a precursor to his more famous, feature-length explorations of social and moral themes. It is appreciated for its earnest attempt to bring literary gravitas to the nascent art of American film.
What Audiences Thought
In 1909, audiences in nickelodeons consumed films in rapid succession, and a film like 'Resurrection' would have been part of a varied program. Its dramatic, moralistic story, based on a famous novel, would have stood out from the more common comedies and action shorts. The emotional journey of the characters, conveyed through the expressive acting of Florence Lawrence and Arthur V. Johnson, was likely a major draw for audiences of the time who were hungry for compelling stories. The film's themes of redemption and social justice would have resonated with the working-class and immigrant audiences that frequented nickelodeons. While there are no specific box office records or audience surveys for this film, the continued production of serious, dramatic shorts by Biograph indicates that there was a strong and receptive audience for this type of content, helping to establish cinema as a medium capable of telling mature and moving stories.
Film Connections
Influenced By
- Resurrection (novel) by Leo Tolstoy
- The stage play adaptations of Tolstoy's novel
- Contemporary social reform movements in the United States
This Film Influenced
- Later, more complete film adaptations of 'Resurrection' (1927, 1931, 1948, 1958, 1968)
- Other D.W. Griffith films with social and moral themes, such as 'A Corner in Wheat' (1909) and 'The Mothering Heart' (1913)
- The broader genre of socially conscious dramas in American cinema
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Film Restoration
The film is preserved. A 16mm copy of 'Resurrection' exists in the collection of the Museum of Modern Art (MoMA) in New York City. It has also been made available to the public through various archives and distributors specializing in early cinema. While the original 35mm nitrate camera negative is almost certainly lost, the survival of a copy means this important early work by D.W. Griffith is not considered a lost film. It has been included in DVD compilations of Griffith's early Biograph shorts, allowing modern audiences to study and appreciate it.