The Call of the Wild
Plot
George Redfeather, a Native American who has been educated at the Carlisle Indian Industrial School, returns home having graduated with high honors and as the star football player. At a reception held in his honor by Lieutenant Penrose, an Indian agent, George meets Gladys, the lieutenant's daughter, and immediately falls deeply in love with her. The film follows George's attempts to court Gladys while navigating the cultural differences between his traditional upbringing and his Western education. As a comedy, the story likely plays with the fish-out-of-water scenarios and cultural misunderstandings that arise from George's unique position between two worlds. The narrative explores themes of assimilation, romance, and identity in early 20th century America.
About the Production
This was one of D.W. Griffith's early directorial efforts for Biograph, made during his first year with the company. The film was shot in the early days of cinema when productions were typically completed in just one or two days. Like many Biograph films of this era, it was likely shot on location or at the company's studio in the Bronx or Fort Lee, New Jersey, which was becoming a major film production center before Hollywood's rise.
Historical Background
The film was produced in 1908, a pivotal year in early American cinema when narrative films were beginning to dominate over actualities and short novelty films. This was the year D.W. Griffith began his directorial career at Biograph, where he would revolutionize filmmaking techniques. The film's subject matter reflects contemporary American attitudes toward Native American assimilation, as the Carlisle Indian Industrial School (mentioned in the plot) was part of a broader federal policy of forced assimilation through education. 1908 was also a year of significant technological advancement in film, with cameras becoming more portable and reliable, allowing for greater mobility in shooting. The film industry was still transitioning from the Edison Trust's monopoly to more competitive production models. This period also saw the rise of nickelodeons, which were creating a growing demand for narrative content.
Why This Film Matters
As an early D.W. Griffith film, 'The Call of the Wild' represents part of the foundation of American narrative cinema. While not as famous as Griffith's later epics, it contributes to our understanding of how early filmmakers approached stories involving minority characters and cultural assimilation. The film's portrayal of an educated Native American protagonist attempting to navigate between traditional and Western cultures reflects the complex racial attitudes of early 20th century America. The participation of Florence Lawrence, who would become one of cinema's first true movie stars, adds to the film's historical importance. The film also exemplifies the Biograph Company's approach to producing diverse content for the growing nickelodeon market, helping establish patterns of American film production and storytelling that would influence the industry for decades.
Making Of
The making of 'The Call of the Wild' in 1908 represents the early days of American narrative cinema. D.W. Griffith was just beginning his revolutionary directorial career at Biograph, where he would eventually develop many of the fundamental techniques of cinematic language. The film was produced during a period when the American film industry was still centered on the East Coast, particularly in New York and New Jersey, before the migration to Hollywood. The casting of Charles Inslee as George Redfeather reflects the common practice of the era, though it's unclear whether Inslee was actually of Native American descent, as color-blind or authentic casting was rare in this period. The production would have been completed quickly, likely in just one or two days, which was standard for Biograph's efficient production schedule. The film was created before the establishment of many film industry standards, including the practice of crediting actors on screen.
Visual Style
The cinematography of 'The Call of the Wild' would have been typical of Biograph productions from 1908, using stationary cameras with basic lighting techniques. The film was likely shot on 35mm film using hand-cranked cameras of the era, which resulted in variable frame rates. Camera movement was minimal, with most shots being static wide shots or medium shots. Interior scenes would have been lit with artificial lighting, which was still relatively primitive and often resulted in harsh lighting. The visual style would have been straightforward and functional, prioritizing clear storytelling over artistic expression. Griffith was still developing his cinematic language at this point, so the film would lack the sophisticated techniques he would later pioneer, such as close-ups, cross-cutting, and camera movement.
Innovations
While 'The Call of the Wild' does not represent major technical innovations, it was produced using the standard technology of 1908 that was still relatively new. The film would have been shot on celluloid film using hand-cranked cameras, which were becoming more reliable and portable than earlier models. The editing would have been done by physically cutting and splicing the film negative, a process that was still being refined. The film represents the standardization of narrative film techniques that were becoming established around this time. The production would have benefited from Biograph's efficient studio system, which was pioneering methods of mass-producing films for a growing market. The film's existence also demonstrates the increasing sophistication of storytelling in American cinema, moving away from the simple actualities and trick films that dominated the earliest years of cinema.
Music
As a silent film, 'The Call of the Wild' would have been accompanied by live music during theatrical presentations. The specific musical score would have varied by theater and venue, with larger theaters employing small orchestras while smaller venues used a single pianist or organist. The music would have been selected from existing published pieces rather than being specially composed for the film. Typical accompaniment would have included popular songs of the era, classical pieces, and mood music from published collections specifically compiled for silent film accompaniment. The musical selections would have been chosen to match the emotional tone of each scene, with romantic music for the love story elements and lighter, more playful music for the comedy aspects.
Famous Quotes
No surviving dialogue or intertitles are documented from this film
Memorable Scenes
- The reception scene where George Redfeather meets Gladys and falls in love, which would have been the central romantic moment of the film
Did You Know?
- This film should not be confused with the famous Jack London story adaptations of 'The Call of the Wild' - it's an entirely different story about a Native American character.
- Florence Lawrence, who plays Gladys, was known as 'The Biograph Girl' and was one of cinema's first movie stars, though actors weren't credited by name in films of this era.
- The Carlisle Indian Industrial School mentioned in the plot was a real institution that existed from 1879 to 1918 and was notable for its football program.
- This film was released during a period when Native Americans were frequently portrayed in cinema, often in stereotypical ways, though this film attempted a more nuanced approach by showing an educated Native American protagonist.
- D.W. Griffith made over 400 short films for Biograph between 1908-1913, with this being among his earliest directorial efforts.
- The film was shot on 35mm film with standard Biograph equipment of the era, which was relatively primitive compared to later cinema technology.
- Like most films of 1908, it would have been shown with live musical accompaniment in theaters, often with a pianist or small orchestra providing the score.
- The film was likely distributed through Biograph's established network of theaters and exchange systems that dominated early American cinema distribution.
What Critics Said
Contemporary critical reception for films of this era was limited, as film criticism as we know it today did not yet exist. Reviews, if any, would have appeared in trade papers like the Moving Picture World or Variety. Modern film historians and scholars view this film primarily as an example of early Griffith work and as representative of Biograph's output from this period. It's studied more for its historical context and place in Griffith's filmography than for its artistic merits. The film is generally not considered among Griffith's most significant works, which would come later, but it's valued by silent film scholars for what it reveals about early 20th century filmmaking practices and cultural attitudes.
What Audiences Thought
Audience reception information for specific films from 1908 is extremely limited, as systematic box office tracking and audience surveys did not exist. The film would have been shown as part of a varied program at nickelodeons, which typically charged five cents admission and showed multiple short films. The presence of Florence Lawrence, who was becoming recognizable to regular filmgoers despite not being credited by name, likely helped the film's appeal. The comedy genre and romantic elements would have been popular with the working-class audiences who frequented nickelodeons. The film's relatively short running time of about 11 minutes was standard for the era and would have fit well into the typical program format of the period.
Film Connections
Influenced By
- Contemporary stage plays about Native Americans
- Popular literature about assimilation
- Biograph's established production methods
- Early film comedy traditions
This Film Influenced
- Later D.W. Griffith films with minority characters
- Other Biograph productions with similar themes
- Early films featuring educated minority protagonists
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Film Restoration
The preservation status of 'The Call of the Wild' (1908) is unclear, and the film may be lost. Many films from this early period, particularly Biograph shorts from 1908, have not survived. The Library of Congress and other film archives have extensive collections of early American films, but this specific title is not widely documented as being preserved. The film would have been printed on nitrate stock, which was highly flammable and prone to deterioration, making survival unlikely unless it was copied to safety film or preserved by archives. If copies do exist, they would likely be held by major film archives such as the Museum of Modern Art, the Library of Congress, or the George Eastman Museum.