The Female of the Species

Plot

In this gripping silent drama, a group of survivors including a man and three women abandon their dying mining town and embark on a perilous journey across the harsh desert landscape. As they struggle against the elements and dwindling supplies, tensions rise among the travelers, particularly between the man's wife and her female companion. When the man succumbs to the brutal conditions during their trek, his wife becomes consumed by suspicion and jealousy, convinced that her companion had an affair with her deceased husband. The film culminates in a dramatic confrontation as the grieving wife plots her revenge, exploring the raw emotions and primal instincts that emerge when civilization's constraints are stripped away.

Historical Background

1912 was a pivotal year in American cinema, marking the transition from short novelty films to more sophisticated narrative features. The film industry was still largely centered in New York, with California just emerging as a production hub. D.W. Griffith was at the height of his Biograph period, rapidly developing cinematic techniques that would define film language. This was the year before Griffith would make his controversial masterpiece 'The Birth of a Nation' and leave Biograph for Reliance-Majestic. The film reflected changing social attitudes about women's roles and psychology, as the suffrage movement gained momentum across America. The title's reference to Kipling's poem tapped into contemporary literary culture, showing cinema's growing ambition to be taken as seriously as literature and theater.

Making Of

The production of 'The Female of the Species' exemplified D.W. Griffith's growing ambition as a filmmaker. He pushed Biograph to allow him to film on location in the California desert, which was both expensive and logistically challenging for 1912. The cast had to endure genuine heat and harsh conditions during shooting, which contributed to the authentic feel of their suffering on screen. Mary Pickford, already becoming a major star, was given a more complex role than typical for the era, allowing her to showcase her dramatic range beyond the sweet ingenue parts she was known for. Griffith was experimenting with longer takes and more subtle acting styles, moving away from the exaggerated gestures common in early cinema. The film's darker themes initially caused concern at Biograph, with executives worried about audience reception to such a grim story, but Griffith's growing reputation gave him the leverage to see the project through.

Visual Style

The cinematography, credited to Billy Bitzer (Griffith's regular cameraman), was notable for its use of natural light in the desert sequences, which was unusual for 1912. The film employed wide shots to emphasize the vastness and isolation of the desert landscape, using the environment to mirror the characters' emotional states. Bitzer experimented with camera placement to create dramatic tension, particularly in the confrontation scenes. The harsh desert lighting created stark contrasts that enhanced the film's grim atmosphere. The interior scenes used more traditional lighting but incorporated subtle shadows to suggest psychological depth.

Innovations

The film demonstrated several technical innovations for its time, including the effective use of location shooting to enhance narrative impact. Griffith's blocking of actors in the wide desert shots showed an understanding of how to use space dramatically. The film's pacing, building tension through the journey across the desert, represented a sophisticated approach to narrative structure. The editing techniques, particularly the cross-cutting between the suffering characters and their memories or suspicions, showed Griffith's developing mastery of cinematic language. The film's relatively long running time for a Biograph production (a full reel) allowed for more character development than typical shorts of the era.

Music

As a silent film, it would have been accompanied by live musical performance in theaters. The typical score would have been compiled from classical pieces and popular songs of the era, with theater organists or pianists selecting music to match the mood of each scene. For dramatic moments, pieces by composers like Chopin or Beethoven might have been used, while the desert scenes might have been accompanied by more exotic or mysterious-sounding selections. No specific original score was composed for the film, which was standard practice for Biograph productions of this period.

Memorable Scenes

• The opening sequence showing the abandoned mining town, establishing the desolate setting
• The desert journey with the characters struggling against the elements
• The death scene of the husband, filmed with surprising subtlety for the period
• The climactic confrontation between the two women, using minimal intertitles to convey the psychological tension
• The final shots of the lone survivor walking into the vast desert, emphasizing the film's themes of isolation and consequence

What Critics Said

Contemporary reviews praised the film's dramatic intensity and the performances, particularly noting Mary Pickford's departure from her usual lighthearted roles. The Moving Picture World called it 'a powerful study of human emotion under extreme conditions' and praised Griffith's direction. Modern critics view the film as an important stepping stone in Griffith's development toward his more ambitious features. Film historians appreciate its relatively sophisticated psychological elements for the period and its role in establishing conventions of the desert survival genre. The film is often cited in scholarly works about early American cinema and Griffith's Biograph period as evidence of his growing mastery of cinematic storytelling.

What Audiences Thought

Audiences in 1912 responded positively to the film's dramatic tension and the novelty of its desert setting. The more serious tone and psychological depth distinguished it from many contemporary films, which were often simpler melodramas or comedies. The film's exploration of darker themes was noted in viewer letters to trade papers, with some finding it refreshingly sophisticated while others found it disturbing. Mary Pickford's growing popularity undoubtedly contributed to the film's success at the box office. Modern audiences who have seen the film through archives and special screenings often express surprise at its relative sophistication for such an early production.

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