The Lure of the Gown
"Fine feathers make fine birds, and handsome gowns make handsome women"
Plot
The Lure of the Gown tells the story of Veronica, a poor Italian street singer who is deeply in love with Enrico. Their romance is shattered when Isabelle appears in a magnificent gown that captivates all the men in town, including Enrico. Enrico becomes completely infatuated with Isabelle, abandoning Veronica who is left heartbroken at the park entrance. As Veronica weeps, a wealthy couple discovers her and listens to her tale of betrayal caused by the allure of fine clothing. The film explores themes of superficial attraction versus genuine love, and how material possessions can influence human relationships in early 20th century society.
About the Production
This was one of D.W. Griffith's early films for Biograph, shot during his first year as a director. The film was produced during Biograph's peak period when they were releasing up to three films per week. Like most Biograph productions of this era, it was shot on 35mm film and likely completed in one or two days due to the studio's rapid production schedule.
Historical Background
1909 was a pivotal year in American cinema history. The film industry was transitioning from novelty to art form, with narrative films becoming increasingly sophisticated. D.W. Griffith was in his first full year as a director at Biograph, rapidly establishing himself as one of the most innovative filmmakers of his era. This period saw the development of film grammar including close-ups, cross-cutting, and more complex storytelling techniques. The Motion Picture Patents Company (the Edison Trust) had just been formed in 1908, creating a monopoly that would dominate American cinema until 1915. Social themes were becoming more common in films as filmmakers discovered cinema's potential for commentary on contemporary issues like class distinctions and materialism.
Why This Film Matters
The Lure of the Gown represents early American cinema's exploration of social themes and character-driven narratives. While simple by modern standards, it demonstrates D.W. Griffith's early interest in using film to examine human behavior and social dynamics. The film's focus on materialism and superficial attraction reflects growing concerns about consumer culture in early 20th century America. It also showcases the emerging star system, with Florence Lawrence and Marion Leonard helping establish the concept of film actors as celebrities. The film is part of the foundation of American narrative cinema, showing how early filmmakers moved beyond simple chase comedies to explore more complex human emotions and social situations.
Making Of
The Lure of the Gown was made during D.W. Griffith's formative period at Biograph, where he was learning his craft as a director. Griffith had transitioned from acting to directing just the previous year and was rapidly developing his directorial style. The cast consisted of Biograph's stock company of actors who worked together regularly, creating a familiar ensemble. Florence Lawrence, though not the lead in this particular film, was becoming one of America's first movie stars, though Biograph kept her identity secret to prevent her from demanding higher salaries. The film was likely shot outdoors using natural light, as artificial lighting was still primitive and expensive. The costumes, particularly Isabelle's gown, would have been carefully chosen to create the visual contrast central to the film's theme.
Visual Style
The cinematography was typical of Biograph productions in 1909, featuring stationary camera positions and long takes. The cameraman was likely Billy Bitzer or Arthur Marvin, Biograph's principal cinematographers who worked frequently with Griffith. Natural lighting was used for outdoor scenes, while studio scenes employed diffused sunlight or primitive artificial lighting. The camera work emphasized clarity and composition rather than movement, with careful attention to framing the actors within the scene. The gown scenes would have been shot to maximize visual impact, possibly using closer shots than was typical for the period to highlight the costume's beauty.
Innovations
While not technically innovative for its time, The Lure of the Gown represents the solid craftsmanship of Biograph's production system. The film was shot on 35mm film at approximately 16 frames per second, standard for the period. Editing was limited to straight cuts between scenes, as more complex editing techniques were still being developed. The film demonstrates the effective use of costume and visual contrast to tell its story, showing how early filmmakers learned to use visual elements for narrative effect before the development of more sophisticated cinematic techniques.
Music
As a silent film, The Lure of the Gown had no recorded soundtrack. Musical accompaniment would have been provided live in theaters, typically by a pianist or small ensemble. The music would have been selected from standard classical pieces or popular songs of the era, chosen to match the mood of each scene. For emotional scenes like Veronica's heartbreak, slower, melancholic pieces would have been played, while the appearance of Isabelle in her gown might have been accompanied by more dramatic or romantic music. Street singer scenes might have included actual diegetic music suggested by the actors' performances.
Famous Quotes
Fine feathers make fine birds, and handsome gowns make handsome women
Her tears attract the attention of a wealthy young couple who happen to pass
Memorable Scenes
- The dramatic entrance of Isabelle in her magnificent gown that captivates all the men
- Veronica's heartbroken weeping at the park entrance after being abandoned
- The wealthy couple discovering the crying street singer and learning her story
Did You Know?
- This film was released during Florence Lawrence's rise to fame as 'The Biograph Girl,' though she was not yet publicly named by the studio
- Marion Leonard, who plays Isabelle, was one of Griffith's favorite early actresses and appeared in over 40 of his Biograph films
- Harry Solter, who plays Enrico, later became a director himself and married actress Florence Lawrence
- The film was shot before Griffith developed his signature cross-cutting technique that would revolutionize cinema
- Biograph films of this period were typically shot without scripts, with actors improvising based on story outlines
- The film was released during a period when American cinema was transitioning from actualities to narrative films
- Like many early films, it was likely hand-colored in certain releases, particularly the gown scenes
- The film was part of Griffith's early exploration of social themes, particularly class distinctions
- It was one of over 40 films Griffith directed in 1909 alone
- The original negative was likely destroyed in Biograph's 1912 film destruction practice to recycle silver content
What Critics Said
Contemporary reviews of 1909 films were limited, as film criticism was still in its infancy. Most coverage appeared in trade papers rather than general newspapers. The Moving Picture World, one of the leading trade publications of the era, generally praised Biograph productions for their quality and storytelling. Modern film historians view The Lure of the Gown as a typical example of Griffith's early work before he developed his more revolutionary techniques. It's considered an important artifact showing the development of narrative cinema and Griffith's growth as a filmmaker who would soon transform the medium.
What Audiences Thought
Audience reception data from 1909 is virtually non-existent, as systematic box office tracking and audience surveys had not yet been developed. However, Biograph films of this period were generally popular with nickelodeon audiences. The theme of romantic betrayal and the visual spectacle of the beautiful gown would have appealed to early filmgoers who were primarily working-class and immigrant audiences seeking entertainment and emotional engagement. The film's straightforward narrative and clear moral contrast would have been easily understood by audiences still learning to interpret cinematic storytelling.
Film Connections
Influenced By
- Stage melodramas of the late 19th century
- Literary traditions of romantic betrayal
- Earlier Biograph one-reelers
- Contemporary social issues regarding consumer culture
This Film Influenced
- Later Griffith films exploring social themes
- Other early 1910s films about class distinctions
- Early romantic dramas in American cinema
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Film Restoration
The film is believed to be lost, as with many Biograph films from this period. Biograph regularly destroyed original negatives after their initial distribution run to recover the silver content. However, paper prints were submitted to the Library of Congress for copyright purposes, and some of these have survived and been transferred to film. The preservation status of this specific title is uncertain, but it may exist in archives as a paper print or in private collections.