The Devil
Plot
In this early silent comedy, a mischievous devil character creates chaos and humorous situations for the unsuspecting protagonists. The film follows the devil's antics as he interferes with the lives of ordinary people, particularly focusing on a dining establishment where Mack Sennett appears as a waiter. The devil's supernatural powers are used for comic effect, turning everyday situations into farcical scenarios. The short film builds to a comedic climax where the devil's mischief is eventually exposed or resolved, leaving the characters in various states of confusion and amusement. This early Biograph comedy showcases the simple but effective storytelling techniques that would become hallmarks of early American cinema.
Director
About the Production
This film was produced during D.W. Griffith's first year as a director at Biograph, when he was rapidly learning the craft of filmmaking. The production would have used the standard Biograph process of the time, shooting on 35mm film with their proprietary cameras. As was typical for Biograph productions of this era, the film was likely shot in just one or two days with minimal rehearsal. The inclusion of Mack Sennett, who would later become famous as a comedy director and producer, shows the early talent pool that Griffith was working with at Biograph.
Historical Background
The Devil was produced during a pivotal moment in American cinema history. 1908 was the year that D.W. Griffith truly began his directorial career at Biograph, making dozens of short films that would help establish the language of cinema. This period saw the transition from simple actualities and trick films to more sophisticated narrative storytelling. The film industry was still largely centered in New York and the East Coast, with Hollywood not yet established as the film capital. The Motion Picture Patents Company, often called the Edison Trust, was forming around this time, which would create a monopoly over film production and distribution. Nickelodeons were becoming increasingly popular venues for short films like this one, and audiences were developing a taste for narrative comedies and dramas. The film was made before the industry had developed the star system, though Florence Lawrence would soon become one of the first film stars.
Why This Film Matters
As an early D.W. Griffith film, 'The Devil' represents an important step in the development of American narrative cinema. While not as famous as Griffith's later epics like 'The Birth of a Nation' or 'Intolerance,' this short comedy demonstrates the early experimentation with storytelling techniques that would become standard in cinema. The film's use of the devil character for comedic purposes reflects the popular theatrical traditions that early cinema drew from, particularly vaudeville and burlesque. The inclusion of future industry figures like Mack Sennett and Florence Lawrence makes this film historically valuable for capturing talent at the beginning of their careers. This film also exemplifies the Biograph Company's role as a training ground for many of the most important figures in early American cinema. The simple but effective storytelling approach used in this short comedy helped establish patterns that would influence countless future films.
Making Of
The making of 'The Devil' represents a fascinating glimpse into early American film production at the Biograph Company. D.W. Griffith, who had only recently transitioned from acting to directing, was working under the intense pressure of Biograph's demanding production schedule. The studio was known for cranking out multiple short films each week, and Griffith quickly proved himself as a reliable director who could deliver quality content on tight deadlines. The casting of Harry Solter, Claire McDowell, and Florence Lawrence shows Griffith's early reliance on a core group of Biograph regulars. Mack Sennett's appearance as a waiter is particularly noteworthy, as this was before he developed his own distinctive comedy style and founded Keystone Studios. The film would have been shot using natural light or simple studio lighting setups, with minimal camera movement due to the heavy equipment of the era. The devil character's supernatural abilities would have been created through simple in-camera effects or editing tricks that were innovative for 1908.
Visual Style
The cinematography in 'The Devil' would have employed the standard techniques of Biograph productions in 1908. The film was likely shot using a stationary camera positioned to capture the action in a wide shot, as camera movement was rare and difficult in this early period. The lighting would have been primarily natural light if shot outdoors, or basic studio lighting if filmed on Biograph's interior sets. The cinematographer, probably Arthur Marvin or G.W. Bitzer (Biograph's regular cameramen), would have used the standard Biograph camera which initially shot on a unique 68mm format before switching to 35mm. The visual composition would be straightforward and functional, focusing on clearly presenting the comedic action to the audience. Any special effects showing the devil's powers would have been achieved through simple in-camera techniques or editing tricks that were innovative for the time.
Innovations
While 'The Devil' does not represent major technical breakthroughs, it utilizes the standard filmmaking technology of 1908 that was still evolving rapidly. The film would have been shot on celluloid film using hand-cranked cameras, requiring the cameraman to maintain consistent speed manually. Any supernatural effects depicting the devil's powers would have been created through techniques like jump cuts, multiple exposures, or stop-motion photography, which were innovative for the period. The editing, likely done by Griffith himself or under his supervision, would have used the simple continuity cutting that was becoming standard in narrative films. The film's production at Biograph also utilized their early film processing and printing facilities, which were among the most sophisticated in the American industry at the time.
Music
As a silent film from 1908, 'The Devil' would have been accompanied by live music during its theatrical exhibition. The typical accompaniment would have been provided by a pianist or small ensemble in the nickelodeon theater, playing popular tunes of the era or improvised music that matched the on-screen action. For a comedy like this, the musical accompaniment would likely have been light and playful, with jaunty rhythms to enhance the humorous situations. The music would have been selected from common repertoire of the time, possibly including popular songs like 'The Merry Widow Waltz' or other well-known melodies that audiences would recognize. No original composed score was created for the film, as was standard practice for short films of this period.
Famous Quotes
No dialogue survives as this is a silent film with no intertitles documented
Memorable Scenes
- The scene featuring Mack Sennett as a waiter dealing with the devil's supernatural interference, which combines physical comedy with early special effects to create a memorable moment of chaos in the dining establishment
Did You Know?
- This was one of D.W. Griffith's earliest directorial efforts, made when he was still relatively new to filmmaking
- Mack Sennett, who appears as a waiter, would later become known as 'The King of Comedy' and found Keystone Studios
- The film was shot in New York before Griffith and the Biograph company relocated to California
- Florence Lawrence, often called 'The First Movie Star', appears in this early Biograph production
- The film was released during a period when Biograph was producing up to three short films per week
- Like many films of this era, it was likely shown as part of a vaudeville program rather than as a standalone feature
- The film was shot on Biograph's unique 68mm film format before they switched to standard 35mm
- This comedy represents Griffith's early work before he became famous for his epic historical dramas
- The devil character was a popular trope in early cinema for visual comedy and special effects
- The film was created before the Motion Picture Patents Company was formed, which would later control film distribution
What Critics Said
Contemporary critical reception for this 1908 short film is difficult to document, as film criticism as we know it today did not exist in its modern form. Trade publications of the era like The Moving Picture World and Variety would have briefly mentioned the film in their listings of Biograph releases, likely noting it as an amusing comedy suitable for nickelodeon programs. Modern film historians and scholars recognize this film primarily for its place in D.W. Griffith's early filmography and its role in the development of American comedy cinema. The film is valued today more for its historical significance than for its artistic merits, though it demonstrates Griffith's early facility with visual storytelling and comedy timing.
What Audiences Thought
Audiences in 1908 would have viewed 'The Devil' as part of a varied program of short films shown at nickelodeons. The comedy genre was popular with early film audiences who were still discovering the possibilities of the new medium. The devil character, with his supernatural mischief, would have provided the kind of visual entertainment that appealed to the diverse urban audiences who frequented early movie theaters. The film's brief runtime and simple humor would have made it accessible to viewers of all backgrounds and literacy levels, which was crucial for the mass appeal of early cinema. The presence of recognizable Biograph regulars like Florence Lawrence would have added to the film's appeal for regular moviegoers who were beginning to recognize and follow favorite performers.
Film Connections
Influenced By
- Georges Méliès' trick films
- Stage comedy traditions
- Vaudeville humor
- Early French comedy films
This Film Influenced
- Later Biograph comedies
- Mack Sennett's Keystone comedies
- Early American comedy shorts
You Might Also Like
Film Restoration
The preservation status of this 1908 Biograph film is unclear. Many films from this early period, particularly Biograph shorts, have been lost due to the unstable nature of early film stock and lack of systematic preservation efforts. Some Biograph films from this era have survived through archives like the Library of Congress and the Museum of Modern Art, but individual titles like 'The Devil' may be among the lost films of cinema's first decade. The film's survival would depend on whether copies were deposited for copyright purposes or preserved in early film archives.