Two AM; or, The Husband's Return

Plot

In this early dramatic short film, a husband returns home at two o'clock in the morning after a night out. He enters quietly, attempting not to disturb his sleeping wife who is resting in bed. However, his movements inevitably wake her, and she reacts with surprise and perhaps mild annoyance at his late arrival. The brief scene captures the intimate domestic moment and the wife's reaction to her husband's late return, reflecting common marital tensions of the era. The film concludes with this simple yet relatable interaction between the couple, demonstrating early cinema's focus on everyday situations.

Historical Background

1896 was a pivotal year in cinema history, marking the transition from novelty films to narrative storytelling. The film industry was in its infancy, with competing technologies and companies vying for dominance. The American Mutoscope Company, which produced this film, was challenging Thomas Edison's monopoly on film technology. This period saw the birth of narrative cinema, moving away from simple actualities and trick films toward stories with recognizable characters and situations. The late Victorian era's social mores influenced content, with domestic themes being considered safe and appropriate entertainment. The film's focus on marital relations reflected contemporary concerns about family life and gender roles in an era of rapid social change.

Making Of

The production of this film took place during the pioneering days of American cinema, when filmmakers were still experimenting with narrative techniques. The Black Maria studio, where it was filmed, was essentially a tar-paper covered building that could rotate to follow the sun's movement, ensuring consistent lighting throughout the day. The actors, Paul Clerget and Miss Ross-Selwicke, were likely stage performers accustomed to broad gestures for theater audiences, which translated well to the silent medium of early film. The director, William K.L. Dickson (who was working with American Mutoscope at the time), would have given simple instructions as the complex directing techniques we know today had not yet been developed. The bedroom set was minimal but effective, using basic props and furniture to establish the domestic setting quickly for the brief runtime.

Visual Style

The cinematography was extremely basic by modern standards, consisting of a single stationary camera position typical of early cinema. The camera would have been hand-cranked, resulting in variable frame rates. Lighting came entirely from natural sunlight through the Black Maria's retractable roof, creating harsh shadows typical of early films. The composition was theatrical, with the entire scene visible in a single wide shot, as close-ups and camera movements had not yet been developed. The black and white image quality was grainy but clear for the period, with the 68mm film stock providing relatively good detail. The static camera placement reflects the influence of theater, where audiences view the entire stage from one perspective.

Innovations

While not technically innovative by the standards of 1896, the film represents the standardization of narrative filmmaking techniques. The use of 68mm film stock by American Mutoscope provided superior image quality compared to Edison's 35mm format, though this format was eventually abandoned due to practical considerations. The film demonstrates the effective use of limited runtime to tell a complete story, a skill that would become increasingly important in cinema. The production shows how early filmmakers learned to work within technical constraints to create emotionally engaging content, laying groundwork for future narrative cinema development.

Music

As a silent film, it had no synchronized soundtrack. However, when exhibited in theaters, it would have been accompanied by live music, typically a pianist or small orchestra playing appropriate mood music. The musical accompaniment would have been improvised or selected from standard classical pieces suitable for domestic drama scenes. Some venues might have used sound effects created backstage to enhance the action, such as door creaks or footstep sounds. The lack of dialogue meant that actors had to convey emotion entirely through gesture and expression, a skill they brought from their theatrical training.

Memorable Scenes

• The moment when the husband enters the darkened bedroom and his wife suddenly awakens, creating a brief moment of tension and surprise that was effective for early cinema audiences

What Critics Said

Contemporary reception of early films like this was primarily documented in trade publications and newspapers. Critics of the era were often more interested in the technological marvel of moving pictures than the artistic content. Reviews typically focused on the novelty of the medium rather than dramatic performances. Modern film historians view this work as an important example of early narrative cinema, though its artistic merit is limited by the technical constraints of the period. The film is now studied primarily for its historical significance rather than its entertainment value, representing an important step in cinema's development from novelty to narrative art form.

What Audiences Thought

Audiences in 1896 were still amazed by the very concept of moving pictures, so even simple narratives like this were considered remarkable. The familiar domestic scenario would have been immediately understandable to viewers, making it more accessible than abstract or experimental content. The film was likely shown in vaudeville theaters and penny arcades, where audiences paid to view brief films individually on mutoscopes. The relatable story of marital relations would have resonated with working and middle-class viewers, providing a moment of recognition and amusement in their entertainment experience. The short length was typical for the era, as audiences' attention spans for this new medium were still developing.

You Might Also Like