The House of Darkness

Plot

In this tense D.W. Griffith drama, a violent patient confined to an insane asylum exhibits unpredictable behavior that alarms the staff. When a compassionate nurse plays the piano, the patient becomes remarkably calm and peaceful, demonstrating music's therapeutic effect. However, this tranquility proves temporary as the patient soon escapes from the institution, evading his pursuers with determination. After obtaining a gun, the fugitive makes his way to a residential house where a young wife is alone at home, setting up a harrowing confrontation between the escaped mental patient and the vulnerable woman. The film builds suspense as the audience wonders whether the patient's violent tendencies will resurface or if the memory of the calming music might prevent tragedy.

Historical Background

1913 was a pivotal year in American cinema, occurring during the transition from short films to feature-length productions. The film industry was rapidly consolidating, with Thomas Edison's Motion Picture Patents Company (the 'Trust') losing its monopoly as independent filmmakers like Griffith gained prominence. This period saw the establishment of Hollywood as the center of American film production, with many East Coast companies, including Biograph, establishing West Coast operations to take advantage of the year-round sunshine. Social issues were increasingly addressed in films, and mental illness was beginning to be portrayed with more nuance than in earlier cinema. The year also saw significant technological advancements in film equipment and techniques, with directors like Griffith pushing the boundaries of cinematic storytelling through innovations in editing, camera movement, and narrative structure. The film was released just months before the opening of the first dedicated movie palaces, signaling cinema's evolution from nickelodeons to a more respectable form of entertainment.

Making Of

The production of 'The House of Darkness' took place during D.W. Griffith's final months with the Biograph Company, where he had been honing his craft since 1908. The film was likely shot in just two or three days, following the efficient production methods that allowed Griffith to direct dozens of films annually. Lionel Barrymore, already an established stage actor, was transitioning to film work and would become one of Griffith's reliable performers. The asylum setting would have been created using minimal studio resources, typical of Biograph's economical approach to filmmaking. The piano scenes were particularly important in silent films, as they provided an opportunity for visual storytelling through performance rather than intertitles. Griffith was known for his meticulous attention to performance and likely worked closely with Barrymore to create the character's dramatic transformation from violent to calm to menacing. The film's tension-building sequences demonstrate Griffith's developing mastery of cinematic techniques that would influence generations of filmmakers.

Visual Style

The cinematography by Billy Bitzer, Griffith's frequent collaborator, employs the visual language typical of the period but with growing sophistication. The film uses medium shots for character interactions and close-ups for emotional emphasis, techniques that Griffith was helping to establish as standard cinematic practice. The asylum scenes likely employed darker lighting to create an oppressive atmosphere, while the domestic setting would have been brighter to contrast with the institutional environment. The camera work is relatively static, as was common in 1913, but Griffith was beginning to experiment with more dynamic camera placement and movement. The film's visual composition reflects Griffith's theatrical background while adapting stage techniques for the cinematic medium. The contrast between institutional and domestic spaces is visually articulated through set design and lighting choices.

Innovations

While not technically groundbreaking compared to some of Griffith's other works of the period, 'The House of Darkness' demonstrates several important technical achievements of early cinema. The film employs cross-cutting between the escaping patient and his pursuers to build suspense, a technique that Griffith was helping to perfect. The use of intertitles is minimal and economical, reflecting Griffith's preference for visual storytelling over explanatory text. The film's pacing and rhythm show Griffith's developing understanding of cinematic time and how to manipulate audience emotions through editing. The production values, while modest by later standards, represent the professional standards being established by the American film industry in 1913. The film's survival in good condition is itself a technical achievement, given the fragility of early film stock and the loss of many films from this period.

Music

As a silent film, 'The House of Darkness' would have been accompanied by live musical performance during theatrical exhibitions. The piano music featured prominently in the narrative would have been particularly significant, with theater pianists likely playing appropriate selections during these scenes. The score would have varied by theater and musician, but might have included popular classical pieces of the era or specially composed mood music. The tension-building sequences would have been accompanied by dramatic musical selections to enhance the suspense. The film's emphasis on piano music within the story demonstrates the important role of live musical accompaniment in the silent film experience. The quality and appropriateness of musical accompaniment could significantly affect audience reception of films during this period.

Memorable Scenes

• The pivotal scene where the violent patient is calmed by the nurse's piano playing, demonstrating the therapeutic power of music and providing a moment of peace before the ensuing tension; The tense home invasion sequence where the escaped patient confronts the young wife alone in her house, showcasing Griffith's mastery of suspense and cross-cutting techniques

What Critics Said

Contemporary critical reception for short films in 1913 was limited, as film criticism was still in its infancy and most newspapers did not regularly review individual shorts. However, trade publications like The Moving Picture World and Variety did cover Biograph releases, and Griffith's films were generally well-regarded by industry professionals. Modern film historians and scholars recognize this film as a representative example of Griffith's Biograph period, noting its effective use of suspense and its relatively progressive portrayal of mental illness. Critics today appreciate the film for its historical significance and as an example of Griffith's developing directorial style before his controversial but technically groundbreaking feature films. The film is often cited in studies of early cinema's treatment of psychological themes and Lionel Barrymore's early film work.

What Audiences Thought

Audience reception data for individual short films of 1913 is not systematically documented, but Biograph films featuring D.W. Griffith's direction were generally popular with theater-goers of the era. The film's suspenseful narrative and dramatic performances would have appealed to contemporary audiences who were becoming more sophisticated in their appreciation of cinematic storytelling. The theme of a dangerous stranger threatening a woman in her home resonated with early 20th century audiences and reflected common social anxieties of the period. The inclusion of piano music in the narrative would have been particularly effective in theaters with talented accompanists. As a Biograph release, the film would have been widely distributed across the United States in the chain of theaters that regularly programmed the company's productions.

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