The Cardinal's Conspiracy
Plot
In this early D.W. Griffith melodrama, a royal princess vehemently rejects her arranged marriage to a suitor she finds unappealing. The cunning cardinal, determined to secure the union, devises an elaborate scheme: he instructs the suitor to shave his beard and change into more appealing attire. The cardinal then hires four clowns to stage a fake attack on the princess, allowing the suitor to heroically rescue her. The plan succeeds brilliantly as the princess immediately falls for her supposed savior, and her affection deepens when the cardinal arranges for the suitor's arrest, making him appear as a noble martyr. The film concludes with the princess pleading for her hero's release, having completely fallen for the manufactured romance.
About the Production
This was one of hundreds of short films D.W. Griffith directed for Biograph during their peak production period. The film was shot in just one or two days, typical of Biograph's rapid production schedule. The use of clowns in the staged attack sequence shows Griffith's early experimentation with combining different theatrical traditions in cinema.
Historical Background
1909 was a pivotal year in American cinema, marking the transition from simple actualities and trick films to more complex narrative storytelling. D.W. Griffith was revolutionizing film language at Biograph, developing techniques like cross-cutting, close-ups, and sophisticated narrative structures. This film emerged during the nickelodeon boom, when thousands of small theaters across America showed short films continuously to working-class audiences. The film industry was still largely centered in New York and New Jersey, with Hollywood not yet established as the production capital. This period also saw the rise of the star system, with actors like Florence Lawrence beginning to receive public recognition for their work.
Why This Film Matters
While not one of Griffith's most famous works, this film represents an important step in the development of narrative cinema. It demonstrates how early filmmakers were adapting theatrical melodramas to the new medium, creating more sophisticated plots that could sustain audience interest for 10-15 minutes. The film's use of deception and staged heroism as plot devices would become staples of romantic cinema for decades to come. It also showcases the early careers of three performers who would become major figures in American cinema: Lawrence as the first recognized movie star, Pickford as 'America's Sweetheart', and Powell as both actor and director.
Making Of
The production was typical of Biograph's factory-like efficiency under Griffith's direction. Frank Powell, who played the suitor, was also a director at Biograph and would later direct Mary Pickford in several films. The use of clowns in the attack sequence shows how Griffith was borrowing from various theatrical traditions to create cinematic spectacle. The film was likely shot on Biograph's indoor stages in New York with minimal sets, as was common for productions of this era. The actors would have performed with exaggerated gestures typical of stage acting, as silent film acting techniques were still being developed.
Visual Style
The cinematography was handled by Biograph's regular cameramen, likely Arthur Marvin or G.W. Bitzer. The visual style would have been characteristic of the period: static camera positions, theatrical staging, and flat lighting. The film would have been shot in black and white on 35mm film, with intertitles used to explain key plot points. The composition would follow the theatrical convention of keeping the entire action in frame, though Griffith was beginning to experiment with closer shots for emphasis.
Innovations
While not technically innovative for its time, the film demonstrates Griffith's growing mastery of narrative construction within the constraints of early cinema. The use of multiple locations and the coordination of the staged attack sequence show increasing production sophistication. The film represents the refinement of continuity editing that Griffith was helping to establish as the norm for American cinema.
Music
As a silent film, it had no synchronized soundtrack. In nickelodeon theaters, it would have been accompanied by live music, typically a pianist playing popular songs or classical pieces appropriate to the mood of each scene. The music would have been improvised or selected from cue sheets provided by Biograph, suggesting musical themes for different types of scenes (romantic, dramatic, action, etc.).
Famous Quotes
No recorded dialogue exists as this is a silent film
Memorable Scenes
- The staged attack sequence where four clowns pretend to assault the princess, only to be 'heroically' defeated by the disguised suitor in a carefully choreographed display of manufactured valor
Did You Know?
- This film was part of D.W. Griffith's incredibly prolific 1909 output, where he directed over 60 short films for Biograph
- Florence Lawrence, often called 'The First Movie Star', was one of Biograph's biggest attractions before her famous defection to IMP
- Mary Pickford appears in a supporting role, just before she would become one of the most famous actresses in cinema history
- The film showcases Griffith's early use of cross-cutting and narrative complexity that would later define his style
- Biograph films from this period were typically shot on 35mm film but released in both 35mm and 68mm formats
- The cardinal character represents Griffith's early fascination with religious authority figures as dramatic antagonists
- This film was released during the height of the nickelodeon boom, when short films were the primary form of cinematic entertainment
- The plot device of staging a rescue to win affection would become a recurring trope in romantic films throughout cinema history
What Critics Said
Contemporary critical reception for short Biograph films was minimal, as trade publications were still developing and most films were reviewed only briefly if at all. The film likely received positive notices in trade papers like The Moving Picture World for its entertaining story and competent execution. Modern film historians view this as a typical example of Griffith's early Biograph period - technically competent but not yet showing the artistic ambition that would characterize his later masterpieces. It's primarily studied today for its place in the development of narrative cinema and the early careers of its performers.
What Audiences Thought
Audiences in 1909 would have received this film as typical entertainment for the nickelodeon circuit. The melodramatic plot, clear hero-villain dynamics, and romantic elements were exactly what audiences of the period expected. The presence of popular Biograph regulars like Lawrence and Pickford would have been a draw for regular moviegoers who were beginning to recognize and follow favorite actors. The film's straightforward narrative and visual storytelling would have been easily understood by the diverse, often immigrant audiences who frequented nickelodeons.
Film Connections
Influenced By
- Stage melodramas
- Commedia dell'arte (through the clowns)
- Shakespearean romance plots
- 19th century theatrical conventions
This Film Influenced
- Later Griffith Biograph shorts with similar romantic plots
- The development of romantic comedy tropes in cinema
- Staged rescue scenarios in later films
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Film Restoration
The film is believed to be preserved in the Library of Congress collection as part of the Paper Print collection, where early Biograph films were archived on paper rolls for copyright purposes before being transferred back to film in the mid-20th century