What Happened on Twenty-Third Street, New York City

About the production

Filmed on location in New York City using a stationary camera positioned at street level. The film was shot in a single take and required precise timing between the actors and the subway ventilation system. The production crew had to wait for the right moment when subway trains would pass underneath to create the wind effect. This was one of Edison's early narrative films that combined actuality footage with staged comedy, representing a transitional approach in early cinema.

Themes

Themes & topics

Historical background

Fairground exhibitors screened What Happened on Twenty-Third Street, New York City around 1901, when projected images still traveled as curiosity entertainment.

Why this film matters

What Happened on Twenty-Third Street, New York City belongs to early staged screen fiction, when producers tested camera placement and trick cuts.

Making of

The film was directed by George S. Fleming, who was one of Edison's early directors working at the company's studio in the Bronx. The production team utilized the natural environment of New York City, setting up their camera equipment directly on 23rd Street to capture both authentic street life and their staged narrative. The famous wind effect was achieved through careful timing - the crew had to coordinate the actors' movements with the schedule of subway trains passing beneath the street. Florence Georgie, playing the female lead, had to wear multiple layers of period-appropriate undergarments while maintaining composure during the unexpected wind gust. The film was shot using Edison's own 35mm film stock and cameras, with the entire production likely taking only a few hours to complete given its simplicity and short runtime.

What critics said

Press notices for What Happened on Twenty-Third Street, New York City (1901) are sparse in digitized sources; interest today rests on preserved prints and comparison with related titles.

Did you know?

• features what is considered cinema's first 'upskirt' moment, though it was accidental rather than intentional titillation.
• The wind effect was created naturally by passing subway trains beneath the street grate, not by artificial means.
• The film was shot on location rather than in a studio, which was uncommon for narrative films of this era.
• A.C. Abadie was a regular actor in Edison films and often played the male lead in their early productions.
• The woman's exposed ankles were considered scandalous for 1901 audiences, making the film quite controversial.
• This scene was famously referenced 54 years later in Marilyn Monroe's iconic subway grate scene in 'The Seven Year Itch' (1955).
• The film was part of Edison's series of 'actuality' films that began incorporating staged elements.
• Only one copy of the film is known to survive, preserved in the Library of Congress collection.
• The film was originally exhibited as part of Edison's 'New York City' series of short subjects.
• The subway grate shown in the film was part of the newly built Interborough Rapid Transit Company line.

Visual style

The cinematography was typical of Edison films from this period, utilizing a fixed camera position at street level to capture a wide view of the sidewalk and street. The single, uninterrupted take demonstrates the technical limitations of early film equipment, which couldn't move or pan during shooting. The composition carefully frames the action to ensure the actors remain visible while also capturing the surrounding urban environment. Natural lighting was used throughout, with the bright sunlight of a New York summer day illuminating the scene. The camera work, while simple by modern standards, was effective in creating a sense of immediacy and authenticity that would have impressed audiences of 1901.

Innovations

While not technically innovative by later standards, the film demonstrated several important achievements for its time. The successful integration of actuality footage with staged narrative elements was relatively uncommon in 1901. The use of natural environmental effects (subway wind) rather than studio-created effects showed resourcefulness in early filmmaking. The film also represents an early example of location shooting for narrative content, predating the establishment of permanent outdoor filming facilities. The preservation of the film on 35mm stock allowed it to survive more than a century, making it an important technical artifact of early cinema history.

Music

As a silent film produced in 1901, no original soundtrack was created for this production. During exhibition, the film would have been accompanied by live music, typically a pianist or small orchestra in the theater. The musical accompaniment would have been improvised or selected from standard theatrical music libraries of the era, likely consisting of popular songs and classical pieces appropriate to the mood of each scene. For the comedic moment with the wind-blown skirt, musicians would have typically played upbeat, playful music to enhance the humorous effect.

Famous quotes

No dialogue was present in this silent film

Memorable scenes

• The iconic moment when Florence Georgie's character walks over the subway grate and her dress is dramatically blown upward by the wind, revealing her petticoats and causing a brief moment of panic and comedy as she struggles to maintain her modesty while her male companion looks on with amusement.

What audiences thought

The film was reportedly popular with audiences of its time, who were fascinated by the combination of authentic New York City street scenes with the unexpected comedic moment. The sight of a woman's dress being blown up by subway wind was considered daring and risqué for 1901 audiences, contributing to the film's notoriety and popularity. Contemporary accounts suggest that the film was frequently requested for repeat showings at vaudeville theaters and other exhibition venues. The brief but memorable nature of the scene made it ideal for the short attention spans of early film audiences, and its urban setting resonated with viewers experiencing rapid modernization in American cities.

Film connections

Influenced by

• Edison's earlier actuality films
• French comedy films of the Lumière brothers
• Music hall and vaudeville traditions

This film influenced

• The Seven Year Itch (1955)
• The Wind (1928)
• Various comedy films featuring wind effects

Film restoration

Preserved and archived at the Library of Congress in their Motion Picture, Broadcasting & Recorded Sound Division. The film has been digitized and is available for viewing through the Library's digital collections. The surviving print is in relatively good condition for its age, though it shows some deterioration typical of nitrate film from this period. The film has been included in several DVD collections of early American cinema.

Where to watch

• Library of Congress National Screening Room
• Internet Archive
• Various early cinema compilation DVDs
• Museum of Modern Art film collection screenings
• UCLA Film & Television Archive