With Christmas coming at the end of his first year working for Biograph, D.W. Griffith released this one-reel seasonal movie with a heartwarming ending and a hint of social message. It shows the level that he had already achieved in terms of storytelling and film technique.
A family is destitute, and the situation grows bleaker as the father (Henry B. Walthall), unable to find work to feed his children, turns to drink in order to forget his worries. The mother (Marion Leonard) tries to make the most of the situation, but she scolds the father when he comes in drunk and wakes the children. Desperate, he leaves the house, fearing that he may be a worse influence on his own children if he stays. The bartender (Mack Sennett) at his usual dive doesn’t appreciate it when he tries to sleep on the table , and throws him out into the cold. The mother tries to find work, but is turned away from the employment agency. When she returns home, she finds that the hungry child she left there alone has eaten their last crusty loaf of bread. Then, some men arrive with some good news: her aunt’s estate has been settled at last, and she is the inheritor of a small fortune. She and the children move into a nice house with a maid (Kate Bruce). When Christmas rolls around, she explains to the kids that Santa will come in through the window, since there is no chimney, and the kids hatch a plan to “trap” Santa by leaving a basket covered by a picture frame right where he will step (it’s lucky he doesn’t break his neck!). Mom manages to get them to bed, but she sighs while trying on the Santa suit, wishing they had a father to play the role.
Then, in a typically Griffithian coincidence, the starving father now tries to break into the wealthy home to steal some money or at least food, but finds himself confronted by his estranged wife. The girls think their trap has worked, but mom convinces them to stay in bed. Immediately, the couple puts a new plan into action and the father puts on the Santa suit and acts like he is caught in the trap. Mother rouses the girls, who come out and dance with “Santa.” The family is reunited in love.
It’s a happy ending, and I found it emotionally effective, but after all, the drunk may continue being a drunk now that his wife has money. We can hope not, and clearly Griffith wants us to believe that he will reform, since it was only hunger and desperation that made him drink and (try to) steal. Billy Bitzer’s photography is effective and the camera is at least close enough to cut off the actors’ feet and give us some intimacy with the action. There are only a few camera set-ups, and these are static and set to mid-shot throughout, but the editing makes the story work better than a lot of the movies of the period. Where shots in 1909 generally followed one another sequentially, this movie allows for simultaneous action as the father first deserts the family, and then later when he is “trapped” by the children in the next room. Leonard somewhat overdid her acting, pointing and pantomiming to make sure that the audience knew what was said, but overall the performances were good. I was particularly pleased to see Gladys Egan (from “In the Border States”) show up as the daughter.
Director: D.W. Griffith
Camera: G.W. Bitzer
Cast: Henry B. Walthall, Marion Leonard, Gladys Egan, Kate Bruce, Mack Sennett, W. Chrystie Miller
Run Time: 15 Min