The New York Hat

Plot

In a small New England town, a young woman named Mollie (Mary Pickford) receives a stylish New York hat as a dying wish from her mother, fulfilled by the town's kindly pastor (Lionel Barrymore). When Mollie proudly wears her fashionable new hat to church, the town's gossips immediately begin spreading malicious rumors about an inappropriate relationship between the pastor and the young woman. The gossip grows increasingly vicious, with townspeople shunning Mollie and questioning the pastor's morals. The situation reaches a climax when the congregation confronts the pastor, only to have him reveal the truth about the dying mother's bequest and his promise to fulfill it. The film concludes with the townspeople feeling ashamed of their judgmental attitudes and Mollie finally able to enjoy her gift without suspicion.

Historical Background

The New York Hat was produced during a pivotal period in American cinema history. In 1912, the film industry was transitioning from novelty to art form, with directors like D.W. Griffith pioneering narrative techniques that would become standard in cinema. The film reflected Progressive Era concerns about small-town morality and the dangers of gossip, themes that resonated with audiences of the time. This was also the year before Griffith would make his controversial masterpiece The Birth of a Nation, which would revolutionize feature filmmaking. The film industry was centered in the New York area at this time, with Fort Lee, New Jersey serving as the primary production hub before the migration to Hollywood. Women's roles in society were also evolving, and Mary Pickford's character's desire for fashionable independence reflected changing attitudes about female autonomy.

Making Of

D.W. Griffith was under contract with Biograph Company and was required to direct multiple films each month, leading to incredibly efficient production methods. The New York Hat was typical of his Biograph period - a short, moralistic tale that could be filmed quickly but still contained his emerging directorial sophistication. Mary Pickford, already a rising star, worked closely with Griffith to develop her character's emotional range. The film was shot on location in Fort Lee, New Jersey, which was then the center of American film production before the industry moved to Hollywood. Griffith was known for his meticulous attention to detail, even in these short productions, and he carefully coached his actors through the subtle emotional beats required for the story's moral lesson about judgment and gossip.

Visual Style

The cinematography by Billy Bitzer, Griffith's regular collaborator, demonstrates the emerging sophistication of visual storytelling in early cinema. Bitzer employed careful lighting to create mood and emphasize emotional moments, particularly in the church scenes where natural light was used to create a spiritual atmosphere. The film makes effective use of close-ups, a technique still relatively new in 1912, to highlight the characters' emotions and reactions to the gossip. The camera work includes subtle movements and framing techniques that help tell the story visually, such as positioning characters to show their isolation from the community. The exterior scenes take advantage of natural lighting and authentic locations, creating a realistic small-town atmosphere. Bitzer's cinematography shows the influence of Griffith's theatrical background while embracing the unique possibilities of the film medium.

Innovations

The New York Hat showcases several technical innovations that were advancing cinema in 1912. Griffith's use of close-ups was still relatively experimental and demonstrated his understanding of how camera proximity could enhance emotional impact. The film employs effective cross-cutting between different characters' reactions to build tension during the gossip sequences. The lighting techniques, particularly in interior scenes, show sophisticated use of natural and artificial light to create mood and atmosphere. The film's editing rhythm demonstrates Griffith's growing mastery of pacing, using shot duration to control emotional intensity. The production also benefited from Biograph's improved film stock and cameras, allowing for better image quality and more stable shots than earlier films. These technical elements, while seemingly basic by modern standards, were cutting-edge for their time and contributed to the film's emotional effectiveness.

Music

As a silent film, The New York Hat would have been accompanied by live musical performance during theatrical exhibition. The typical score would have been provided by a house pianist or small orchestra, using compiled music appropriate to the film's mood and action. The music would have included sentimental themes for the mother's death, lighter melodies for Mollie's joy in receiving the hat, and more dramatic or tense music during the gossip sequences. The final resolution would have been accompanied by uplifting, moralistic music to reinforce the film's message. No original score survives, as was common for films of this period, but modern screenings typically use period-appropriate compiled music or newly composed scores that reflect the film's emotional arc and early 20th-century musical styles.

Memorable Scenes

• The emotional scene where the pastor reveals the truth about the dying mother's wish to the judgmental congregation, causing the gossips to feel shame for their suspicions. The camera focuses on the pastor's dignified expression as he explains his promise, while the townspeople's faces shift from accusation to remorse, demonstrating Griffith's skill in capturing complex emotional reactions through silent performance.

What Critics Said

Contemporary critics praised The New York Hat for its moral message and technical sophistication. The Moving Picture World noted the film's 'delicate handling of a sensitive subject' and praised Mary Pickford's 'natural and appealing performance.' The New York Dramatic Mirror highlighted Griffith's 'skillful direction' and the film's 'effective use of close-ups to convey emotion.' Modern critics view the film as an important example of Griffith's early work, demonstrating his developing narrative techniques and social commentary. Film historians often cite it as a representative example of Biograph's output during this period, showing how Griffith was already pushing the boundaries of cinematic storytelling even in short form. The film is frequently studied in film history courses as an example of early American cinema's transition toward more sophisticated narrative techniques.

What Audiences Thought

The New York Hat was well-received by audiences of 1912, who appreciated its moral message and emotional storytelling. The film's themes of gossip and small-town judgment resonated strongly with contemporary viewers, many of whom lived in similar communities. Mary Pickford's growing popularity helped ensure the film's commercial success, as audiences were drawn to her natural charm and relatable character. The film's clear moral lesson about the dangers of gossip and the importance of compassion was particularly appreciated by family audiences, who were the primary market for Biograph's productions. Audience response cards from the period indicate that viewers found the story emotionally engaging and the resolution satisfying. The film's success helped cement Pickford's status as a major star and demonstrated the commercial viability of more sophisticated, socially conscious storytelling in short films.

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