The White Slave Trade
"A sensational drama of modern vice and the perils of the great city."
Plot
Anna, a young woman from a humble background, is lured by a lucrative job offer to serve as a lady's companion in London. Despite the warnings of her skeptical boyfriend Georg, she travels to England only to discover that the 'stately home' is actually a high-end brothel where she is held captive. After a harrowing encounter where she overpowers her first client, Anna remains trapped until Georg arrives in London to mount a desperate rescue mission. With the assistance of a local detective, Georg tracks her down, leading to a climactic confrontation and a daring escape back to Denmark.
About the Production
The film was a 'copycat' production. Nordisk Film’s owner, Ole Olsen, saw the success of a similarly titled film by the rival company Fotorama and ordered director August Blom to remake it shot-for-shot to capitalize on the 'white slavery' craze. This led to a legal dispute and eventually a settlement between the two companies.
Historical Background
In 1910, 'White Slavery' (the trafficking of women for prostitution) was a major moral panic in Europe and North America. The International Convention for the Suppression of the White Slave Trade was signed in Paris the same year the film was released. The film tapped into deep-seated anxieties about urbanization, the changing role of women in society, and the perceived dangers of international travel. It served both as a 'warning' to young women and as a sensationalist entertainment that allowed audiences to glimpse the 'forbidden' world of the brothel under the guise of moral education.
Why This Film Matters
This film marked a turning point in the evolution of fiction films from short 'attractions' to narrative features. It inaugurated the 'sensationalist' genre, which focused on crime, vice, and social taboos. Its international success proved that audiences were willing to sit through longer films with complex plots, paving the way for the feature-length era. It also established Nordisk Film as a global powerhouse, rivaling major French and American studios.
Making Of
The production was a race against time. After Fotorama released their version of 'The White Slave Trade' in April 1910, Ole Olsen realized he had missed a goldmine. He reportedly hired August Blom and instructed him to recreate the Fotorama film as closely as possible to steal their market share. The production was marked by its 'tableau' style, where scenes were filmed in long, static takes with deep staging. This 'Nordisk style' became a hallmark of Danish cinema, emphasizing set design and lighting over rapid editing. The cast included Ellen Diedrich, who became a star through this role, though she later left the industry for a career in nursing.
Visual Style
The film utilizes the 'tableau' style, characterized by distant, lateral staging and simple symmetry. Notable for its early use of mirrors to expand the visual field and its use of silhouette lighting—shooting from a dark interior toward a bright window or door—which created a moody, dramatic atmosphere that influenced later German Expressionism.
Innovations
Pioneering use of the multi-reel format for a fiction narrative.,Early implementation of mirror reflections to show off-screen action.,Sophisticated use of interior/exterior lighting contrasts (silhouette effects).,Development of the 'deep staging' technique where action occurs in multiple planes of the frame.
Music
As a silent film, it had no synchronized score. Original screenings would have been accompanied by live piano or a small orchestra, often playing popular melodramatic themes of the era.
Famous Quotes
Intertitle: 'The job offer in London - a dream come true or a nightmare in disguise?'
Intertitle: 'Georg's suspicions grow as Anna departs for the unknown.'
Memorable Scenes
- The arrival at the London brothel, where the 'stately home' facade is stripped away to reveal a prison.
- The scene where Anna overpowers her first client, showing a rare moment of female agency in early melodrama.
- The climactic escape across the rooftops and the final chase to the docks.
Did You Know?
- The film is considered the first 'medium-length' feature in cinema history, running significantly longer than the standard 5-10 minute shorts of the time.
- It was so successful that it spawned two direct sequels: 'The White Slave Trade II' (1911) and 'The White Slave Trade III' (1912).
- The film used a painted backdrop of Big Ben for the London scenes, which was famously criticized for its lack of realism as the 'river' behind it didn't move.
- Franz Kafka was a known admirer of the film and wrote about its impact on his dreams and imagination.
- The film was frequently censored or banned in various countries due to its explicit depiction of a brothel and the theme of prostitution.
- Director August Blom went on to become the head of production at Nordisk, largely due to the massive commercial success of this film.
- The 'white slavery' genre became a global phenomenon following this film, leading to a wave of similar 'social hygiene' films in the US and Europe.
- Despite being set in London, the final chase scene was filmed in the Danish port of Elsinore.
- The film's success helped establish Denmark as a world leader in cinema during the 'Golden Age' of Danish film (1910–1914).
- It was one of the first films to use mirrors as a narrative device to show action happening outside the primary camera frame.
What Critics Said
At the time of its release, critics were divided. Some praised its 'daring' realism and technical quality, while others condemned it as 'cinematographic stupidity' and 'kitsch.' A Czech critic famously wrote that anyone with a conscience 'just about has to vomit' after watching it. Modern film historians, however, view it as a masterpiece of early staging and a vital document of the 'tableau' aesthetic.
What Audiences Thought
Audiences were enthralled. The film was a 'blockbuster' in the modern sense, playing to packed houses across Europe and North America. In Canada and the US, it was often accompanied by 'lecturers' who would explain the 'filthy details' to ensure the audience understood the moral lesson (and to bypass local censorship laws).
Film Connections
Influenced By
- The White Slave (1907) by Viggo Larsen
- The White Slave Trade (1910) by Alfred Cohn (Fotorama version)
This Film Influenced
- The Abyss (1910)
- Traffic in Souls (1913)
- The House of Bondage (1914)
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Film Restoration
Preserved. The film has been restored by the Danish Film Institute and is available in their archives.