His Trust Fulfilled (1911)
About a year ago, I briefly discussed the first part of this two-part story from D.W. Griffith when he was working at Biograph. It’s worth going back and looking at that post, because the two movies are a continuation of the same story. Griffith always was interested in finding way to work in longer formats (even though, as I’ve said before, his greatest strength seems to have been in making shorts). In this case, he did it by making a “sequel” at the same time as he shot the first part, although the opening intertitle assures us that “each is a complete story in itself.” I suspect that note was added by Biograph to assure its distributors and exhibitors that they would not require anyone to rent two-reel movies at a time when movies were sold by-the-foot, rather than by-the-story. At any rate, it is likely that some audiences only saw half of the story.
The story is that of “an old faithful negro servant” (read: slave) of a Confederate soldier (Dell Henderson, who we’ve seen in “The Unchanging Sea” and “The Last Drop of Water”), who takes on the role of protecting the widow and orphaned child after the father is killed in the Civil War. The main character, George, is played with understated dignity and humility by Wilfred Lucas, a white man in blackface, which will make it difficult at best for modern audiences to accept him. He saves the daughter (Gladys Egan again, from “In the Border States” and “The Adventures of Dollie”) from the burning house after a group of Union looters torches it, then running back in to rescue also the fallen hero’s sword, symbol of “his trust” and arguably a phallic symbol of his acceptance of white supremacy. He takes both back to his meager shack, and sleeps outside in the cold to preserve their honor. The mother (Claire McDowell, also in “What Shall We Do with Our Old?” and “The New York Hat”) nevertheless dies from the pain of her loss, apparently shocked to the core by her circumstances. George gives his meager savings to a white lawyer who refuses to shake his hand in order to see to it that the child is brought up and schooled with her own kind. She grows into a somewhat bouncy Dorothy West (from “The House with Closed Shutters” and “The Fugitive”), who attracts the hand of the lawyer’s young cousin from England. George, having fulfilled his life’s purpose – keeping the trust of his long-dead master – shuffles sadly off after the wedding and back to his quarters, where he holds the sword gently to his breast. In what may be a dream sequence, the lawyer appears and finally shakes George’s hand.
In spite of the clearly racist content, I won’t deny that the story has some dramatic and emotional content that still works. The Civil War battle is less effective than what we see in “The House with Closed Shutters,” which may be attributable to a lower budget, but it’s also less central to the storyline. Lucas’s performance, which at first seems virulently stereotypical, takes on a more dignified cast as we see George age and face the trials of keeping his word. In a way, what Griffith is giving us here is the “positive case” for racism and Southern tradition – a world in which people knew their destiny on Earth and kept their honor by living up to their expectations. That this world is mythical makes it no less effective as a cinematic representation, although of course accepting it without criticism leads down the road that got us to “The Birth of a Nation.”
Director: D.W. Griffith
Camera: Billy Bitzer
Run Time: 11 Min
You can watch it (along with “His Trust”) for free: here.