The Son's Return
Plot
A young man leaves his rural home and his aging parents to seek his fortune in the big city, promising to return once he has made his success. Years pass, and the son, now wealthy and sophisticated, returns to his hometown. He checks into his parents' small inn, but they fail to recognize their own son due to his changed appearance and the passage of time. Observing his apparent wealth and thick wallet, the financially struggling parents conspire to rob their guest during the night, unaware they are plotting against their own flesh and blood. The tragic irony unfolds as the son prepares to reveal his identity, while his parents prepare to commit a crime against him.
About the Production
This film was produced during D.W. Griffith's prolific period at Biograph, where he directed hundreds of short films. The movie was shot on 35mm film with the Biograph's proprietary Mutoscope equipment. Like many Biograph productions of this era, it was filmed quickly, often in a single day, with minimal sets and natural lighting. The film showcases Griffith's early experimentation with cross-cutting and narrative structure that would later define his cinematic style.
Historical Background
1909 was a pivotal year in American cinema, marking the transition from simple novelty films to more sophisticated narrative storytelling. The film industry was still centered in the New York area, with Fort Lee, New Jersey serving as the primary production hub. This period saw the rise of the Motion Picture Patents Company, a trust that would soon monopolize film production and distribution. Socially, America was experiencing massive immigration and urbanization, with themes of rural-to-urban migration resonating strongly with audiences. The Progressive Era was in full swing, bringing questions of morality, family values, and the corrupting influence of wealth to the forefront of public consciousness. Griffith's films often reflected these concerns, using melodramatic situations to explore contemporary social issues. The technology of filmmaking was still primitive, with cameras hand-cranked, lighting entirely natural, and sound limited to live musical accompaniment in theaters.
Why This Film Matters
'The Son's Return' represents an important step in the development of narrative cinema and the evolution of American film language. The film's exploration of family conflict and moral ambiguity helped establish the melodramatic conventions that would dominate American cinema for decades. Its themes of urban migration and the corrupting influence of wealth reflected real anxieties of early 20th-century America, particularly among immigrant audiences who made up the bulk of moviegoers. The film also demonstrates D.W. Griffith's early mastery of cinematic techniques that would later become standard, including cross-cutting to build tension and the use of close-ups for emotional emphasis. Mary Pickford's performance in this early role showcases the naturalistic acting style that would help define American cinema's departure from theatrical traditions. The film's preservation and study today provides valuable insight into the social values and storytelling techniques of early American cinema.
Making Of
The production of 'The Son's Return' took place during a transformative period in American cinema. D.W. Griffith was rapidly developing his directorial techniques at Biograph, experimenting with narrative storytelling that went beyond the simple tableaux of earlier films. Mary Pickford, though not yet the superstar she would become, was already showing the screen presence that would make her famous. The film was shot in Fort Lee, New Jersey, which was then the heart of American film production before the industry moved to Hollywood. The cast worked long hours for minimal pay, with actors typically earning $5-15 per day. Griffith was known for his demanding directing style, often pushing actors to deliver more naturalistic performances than was typical of the period. The inn set was a simple construction on the Biograph studio lot, with minimal props and dressing to keep costs down. The film's emotional climax required careful blocking and timing to achieve maximum impact in the medium's infancy.
Visual Style
The cinematography of 'The Son's Return' reflects the technical limitations and conventions of 1909 filmmaking. Shot by Biograph's regular cameraman G.W. Bitzer, the film uses primarily static, wide shots typical of the period, with the camera positioned at eye level to replicate theatrical perspective. Lighting was entirely natural, filmed either outdoors or in studio spaces with large windows to maximize available light. The film stock was orthochromatic, which was less sensitive to red light and created a distinctive high-contrast look. Despite these limitations, Griffith and Bitzer were already experimenting with more dynamic techniques, including some camera movement and varying shot distances to enhance emotional impact. The inn interior scenes were carefully composed to maximize the use of space and create visual interest within the confined set.
Innovations
While 'The Son's Return' may appear technically simple by modern standards, it incorporated several innovations that were advancing the art of cinema in 1909. The film demonstrates Griffith's growing mastery of editing techniques, including cross-cutting between parallel actions to build suspense and emotional impact. The use of multiple locations and sets within a single film was still relatively uncommon, showing Biograph's commitment to more ambitious storytelling. The film's narrative structure, with its clear beginning, middle, and end, represented a move away from the single-scene tableaux that dominated earlier cinema. Griffith's direction of actors toward more naturalistic performances, rather than theatrical gestures, was also technically innovative for the period. The film's preservation of continuity across different shots and locations shows an understanding of cinematic space that was still developing in 1909.
Music
As a silent film, 'The Son's Return' had no synchronized soundtrack, but was originally accompanied by live musical performance in theaters. Typical accompaniment would have included a pianist or small orchestra playing popular songs of the era, classical pieces, and specially composed mood music. The emotional nature of the story would have called for dramatic, romantic musical themes during the reunion scenes and tense, suspenseful music during the robbery plot. Some theaters employed sound effects men to create auditory illusions, such as the sound of footsteps or doors opening. The choice of music varied by theater and musician, with larger urban houses offering more elaborate accompaniment than smaller nickelodeons. Today, modern screenings of the film typically feature newly composed scores or carefully selected period-appropriate music.
Famous Quotes
(Title card) 'Years later, the son returns home, wealthy and successful.'
(Title card) 'The parents, not recognizing their son, see only his money.'
(Title card) 'In their desperation, they plot to rob the stranger.'
(Title card) 'A tragic misunderstanding that threatens to destroy a family.'
Memorable Scenes
- The emotional climax where the son prepares to reveal his identity to his parents while they prepare to rob him, creating maximum dramatic irony as the audience knows the truth the characters do not.
Did You Know?
- This was one of the earliest films to feature Mary Pickford, who would later become 'America's Sweetheart' and co-found United Artists.
- The film was shot in just one day, typical of Biograph's rapid production schedule during this period.
- D.W. Griffith was directing approximately 2-3 films per week for Biograph in 1909.
- The film's theme of prodigal son returning was a popular narrative in early cinema, appealing to immigrant audiences.
- This film is part of a series of Griffith's works exploring family dynamics and moral dilemmas.
- The original nitrate film print was preserved by the Museum of Modern Art in the 1930s.
- Herbert Prior, who played the father, was a regular Griffith collaborator and appeared in over 100 Biograph films.
- The film was released before the Motion Picture Patents Company monopoly was established, making it part of cinema's pre-trust era.
- Like most films of 1909, it was originally shown as part of a variety program with live entertainment.
- The 'fat wallet' prop was actually filled with paper to create the illusion of wealth, as real money was too valuable to risk on set.
What Critics Said
Contemporary critical reception of 'The Son's Return' is difficult to trace, as film criticism was still in its infancy in 1909. Most reviews appeared in trade publications like The Moving Picture World and Variety, which focused more on commercial prospects than artistic merit. The film was generally described as 'effective' and 'well-acted' by the standards of the day. Modern critics and film historians view the work as an important example of Griffith's early development as a director, noting its sophisticated use of narrative structure and emotional storytelling for the period. The film is often cited in scholarly works about Griffith's formative years and the development of American cinema's narrative traditions. While not as celebrated as Griffith's later epics, it is recognized as a significant stepping stone in the evolution of cinematic storytelling.
What Audiences Thought
Audience reactions to 'The Son's Return' in 1909 were generally positive, with the film's emotional story resonating with working-class viewers of the era. The theme of family conflict and reunion was particularly effective with immigrant audiences who often experienced similar separations from their families. The film's moral clarity and emotional resolution satisfied the expectations of nickelodeon patrons, who sought both entertainment and moral instruction from their movie-going experience. Contemporary accounts suggest that audiences were moved by the film's dramatic irony and the emotional reunion between parents and son. The film was successful enough to be widely distributed through Biograph's exchange system, playing in theaters across the United States. Like most films of this period, it was typically shown as part of a varied program that included other short films, live performances, and musical accompaniment.
Film Connections
Influenced By
- Biblical parables (Prodigal Son)
- 19th century melodrama
- Stage plays of the Victorian era
- Contemporary social issues
- Literary traditions of the prodigal son
This Film Influenced
- The Wanderer (1913)
- The Return of the Prodigal (1915)
- Way Down East (1920)
- The Iron Horse (1924)
- The Grapes of Wrath (1940)
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Film Restoration
The film is preserved in the collection of the Museum of Modern Art and the Library of Congress. A 35mm nitrate print survived and was transferred to safety film in the 1930s. The film has been digitally restored and is available through various film archives and special collections.