What Shall We Do with Our Old?
"A powerful appeal for the aged and helpless."
Plot
An elderly, dedicated carpenter is devastated when he learns from a physician that his beloved wife is suffering from a grave illness requiring expensive care. His situation turns from dire to catastrophic when his insensitive shop foreman summarily fires him, citing his advanced age as the sole reason for his dismissal despite his years of loyal service. Desperate and unable to secure new employment in a youth-centric labor market, the old man is forced to wander the streets in search of a way to provide for his dying wife. In a moment of sheer desperation, he attempts to steal food and money, leading to a harrowing encounter with the law that highlights the systemic cruelty faced by the impoverished elderly. The film concludes with a poignant and tragic resolution that serves as a stinging indictment of societal indifference toward those who have outlived their perceived economic utility.
About the Production
The film was produced during D.W. Griffith's most prolific period at Biograph, where he was refining the language of narrative cinema. It was shot on 35mm black and white film, typical of the silent era's 'one-reeler' format. Griffith utilized his regular stable of actors, known as the Biograph Players, who were trained to act with more subtlety than the theatrical 'melodramatic' style common at the time. The production was completed in just a few days, as was the custom for Biograph shorts during 1911.
Historical Background
In 1911, the United States was undergoing rapid industrialization, which often left older manual laborers behind in favor of younger, faster workers. There were no federal social security programs, and the concept of a 'pension' was rare outside of specific government or military roles. This film was released during the Progressive Era, a period of intense social activism and political reform aimed at addressing the problems caused by industrialization, urbanization, and corruption. Griffith's film acted as a visual editorial supporting the need for labor reforms and elderly care.
Why This Film Matters
This film is culturally significant for moving cinema away from pure entertainment and toward social advocacy. It challenged the audience to look at the 'invisible' members of society—the elderly poor—and forced a confrontation with the ethics of capitalism. It is often cited by film historians as a precursor to the social realism movements that would later define 1930s cinema. By humanizing the 'thief' as a victim of circumstance, Griffith helped shift the narrative of crime from moral failing to systemic failure.
Making Of
During the production, Griffith worked closely with his cinematographer G.W. 'Billy' Bitzer to create a visual atmosphere that felt claustrophobic and oppressive to mirror the protagonist's emotional state. The set for the carpenter's home was intentionally designed to look sparse and decaying to emphasize the couple's poverty. Griffith encouraged W. Chrystie Miller to avoid the grand gestures of the stage and instead focus on 'micro-expressions' of grief and exhaustion, which was a revolutionary approach to screen acting in 1911. The scene in the courtroom was filmed using actual extras from the streets to provide a sense of gritty realism.
Visual Style
G.W. Bitzer used naturalistic lighting where possible, a hallmark of the Biograph style. The camera remains mostly static, but the framing is tight, focusing on the weathered face of W. Chrystie Miller to evoke empathy. The use of deep focus in the shop scenes allows the viewer to see the bustling activity of the younger workers in the background, contrasting with the protagonist's slow, dejected movements in the foreground.
Innovations
The film is notable for its sophisticated use of the 'close-medium shot' to capture emotional nuance. It also demonstrates Griffith's mastery of narrative economy, telling a complete, emotionally devastating story in under fifteen minutes. The transition between the domestic sphere (the sick wife) and the public sphere (the workplace and the street) is handled with seamless continuity editing that was ahead of its time.
Music
As a silent film, there was no recorded soundtrack. Original screenings would have been accompanied by a live pianist or organist, likely playing somber classical pieces or melancholic popular airs of the day to match the film's tragic tone.
Famous Quotes
Intertitle: 'The doctor's verdict: She must have care and nourishment.'
Intertitle: 'Too old. We need younger men.'
Intertitle: 'What shall we do with our old?'
Memorable Scenes
- The scene where the foreman points to the door, firing the carpenter, which is shot with a cold, clinical efficiency.
- The heartbreaking moment when the old man returns home and tries to hide his despair from his ailing wife.
- The final sequence in the courtroom where the judge is forced to decide the fate of a man who only stole to save a life.
Did You Know?
- The film is considered one of the earliest examples of 'social conscience' cinema in the United States.
- W. Chrystie Miller, who plays the lead, was actually 68 years old at the time of filming, lending an authentic vulnerability to the role.
- The film's title is a direct reference to the growing societal concern in the early 20th century regarding the lack of a social safety net for retired workers.
- Future legendary director Mack Sennett appears in an uncredited role as one of the men in the workplace.
- The film uses 'cross-cutting' or parallel editing to build tension between the old man's plight and the indifferent world around him.
- Unlike many films of the era, it avoids a traditional 'happy ending,' opting instead for a realistic and somber conclusion.
- The film was released on a split-reel in some markets, though it usually occupied a full 1,000-foot reel.
- D.W. Griffith was reportedly moved to make the film after seeing the increasing number of elderly homeless people in New York City.
What Critics Said
At the time of its release, The Moving Picture World praised the film for its 'pathos and realism,' noting that it was a 'strong sermon' on the duties of the young toward the old. Modern critics view it as a masterpiece of Griffith's early period, praising its restraint and its refusal to rely on easy sentimentality. It is frequently studied in film schools as an example of how early silent film used visual storytelling to convey complex political and social arguments without the need for extensive intertitles.
What Audiences Thought
Contemporary audiences were reportedly deeply moved by the film, with some trade journals noting that it left viewers in 'thoughtful silence.' In an era where many short films were slapstick comedies or chase sequences, this somber drama stood out as a high-art alternative. It resonated particularly well with working-class audiences who lived with the constant fear of being 'let go' due to age or injury.
Awards & Recognition
- National Film Preservation Board (Selected for preservation in later years due to historical significance)
Film Connections
Influenced By
- The social realist novels of Charles Dickens
- The photography of Jacob Riis (How the Other Half Lives)
- Victorian stage melodramas regarding the 'poorhouse'
This Film Influenced
- The Whispering Chorus (1918)
- Umberto D. (1952)
- I, Daniel Blake (2016)
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Film Restoration
The film is preserved and exists in the paper print collection of the Library of Congress. It has been restored and is available in various Griffith retrospective collections.