
"The Greatest Fairy Story Ever Filmed"
In this silent adaptation of the classic fairy tale, Princess Snow White's beauty incites the jealous rage of her stepmother, the Evil Queen. When the Queen's magic mirror declares Snow White the fairest in the land, the Queen orders her huntsman to murder the princess in the forest. Snow White escapes and finds refuge with seven dwarfs who work in a nearby mine, but the Queen discovers her survival through the mirror and transforms herself into an old hag to deliver a poisoned apple. The princess falls into a death-like sleep until she is awakened by the kiss of Prince Florimond, who has been searching for her throughout the kingdom.
The film featured elaborate sets and costumes for its time, including detailed dwarf costumes and a magical mirror effect using double exposure techniques. The production utilized the then-popular star power of Marguerite Clark, one of the highest-paid actresses of the era.
The film was produced during World War I, a time when American cinema was beginning to dominate the global film market as European production was disrupted by the conflict. 1916 was a pivotal year in film history, marking the transition from short films to feature-length productions. The film industry was centered in Fort Lee, New Jersey, before the eventual move to Hollywood. This period saw the rise of the star system, with actors like Marguerite Clark commanding high salaries and public adoration. The film's fairy tale subject matter provided audiences with escapist entertainment during the war years.
This 1916 adaptation represents a crucial link in the evolution of fairy tale cinema and directly influenced one of the most important animated films ever made. Its rediscovery has provided film historians with insight into early fantasy filmmaking techniques. The film helped establish many visual conventions for Snow White adaptations that persist to this day, including the characterization of the Evil Queen and the depiction of the dwarfs. It stands as an example of the sophistication of silent-era narrative cinema and demonstrates how filmmakers were tackling complex fantasy stories even in cinema's early days.
The production faced significant challenges in creating the fantasy elements required by the story. The magical mirror sequence required innovative use of double exposure, a technique still in its infancy in 1916. The dwarf costumes were particularly complex, requiring actors to work on their knees while wearing heavy prosthetics and makeup. Director J. Searle Dawley, a pioneer of early cinema, brought his experience from previous fantasy productions to this project. The film was shot during winter, which added authenticity to the forest scenes but created difficulties for the cast and crew. Marguerite Clark, known for her petite stature (4'10"), was perfect for the role and performed many of her own stunts.
The cinematography by H. Lyman Broening utilized innovative techniques for the period, including double exposure for the magic mirror sequences and careful lighting to create the forest atmosphere. The film employed soft focus techniques to enhance the fantasy elements and used location shooting combined with studio work to create a believable fairy tale world. The visual style emphasized contrast between the dark, menacing castle interiors and the brighter forest scenes.
The film pioneered several special effects techniques for fantasy cinema, including the double exposure magic mirror, forced perspective for the dwarfs, and elaborate makeup effects for the Queen's transformation. The production design created detailed fairy tale sets that were unusually elaborate for the period, demonstrating the growing sophistication of film production in the mid-1910s.
As a silent film, it would have been accompanied by live musical performance in theaters. The original cue sheets suggested classical pieces and mood-appropriate music for different scenes. No original composed score exists, though modern screenings have featured newly commissioned scores by silent film composers.
Magic mirror on the wall, who is the fairest one of all? (title card)
Her lips were red, her looks were free, Her locks were yellow as gold: Her skin was as white as snow. (opening title card)
The Queen's heart grew cold with jealousy and hate. (intertitle)
Contemporary critics praised the film's visual spectacle and Marguerite Clark's performance. The Moving Picture World called it 'a triumph of cinematic art' and highlighted the innovative special effects. Modern critics, after the film's rediscovery, have noted its historical importance and surprisingly sophisticated storytelling techniques. The film is now regarded as a significant artifact of early American cinema and a testament to the artistry possible during the silent era.
The film was a commercial success upon its release, drawing large audiences particularly among families and young viewers. Marguerite Clark's popularity ensured strong attendance, and the film's visual appeal made it a holiday season hit. Modern audiences viewing the restored version have expressed surprise at the film's emotional depth and technical sophistication for its era.
The film was considered lost for many years but a complete nitrate print was discovered in the Netherlands in the 1990s. It has since been preserved by the Museum of Modern Art and the George Eastman Museum. A restored version with new musical accompaniment is available for screenings.