In 1909 Edwin S. Porter left Edison studios to found Rex but it's most famous film "Suspense" was probably directed by it's two leading players - Lois Weber and Phillips Smalley. Smalley was a Griffith devotee who while trying to make a film along the lines of "The Unseen Enemy" included all his master's innovations - close ups, travelling shots, high camera angles, then hit on an innovation of his own - the triptych!!
A servant leaves - refusing to stay in such an isolated place, through the keyhole the mother is seen playing blissfully with the baby. Later, finding the maid's note she looks out of the window and down at the face of a tramp (Douglas Gerrard) who stares menacingly into the face of the camera. She rings her husband who appears as part of a triptych - the other image shows the tramp entering the house.
The husband is having troubles of his own - while desperately trying to get to his wife and baby, his car is stolen and while the stolen car is the main focus of the scene, the police and husband in pursuit can be seen on the dim horizon. In another unusual camera shot, the husband can be seen gaining ground through the stolen car's rear view mirror.
According to Thomas Gunning "no film made before World War 1 shows stronger command of film style and even out does Griffith for emotionally involved film making"!!!
A servant leaves - refusing to stay in such an isolated place, through the keyhole the mother is seen playing blissfully with the baby. Later, finding the maid's note she looks out of the window and down at the face of a tramp (Douglas Gerrard) who stares menacingly into the face of the camera. She rings her husband who appears as part of a triptych - the other image shows the tramp entering the house.
The husband is having troubles of his own - while desperately trying to get to his wife and baby, his car is stolen and while the stolen car is the main focus of the scene, the police and husband in pursuit can be seen on the dim horizon. In another unusual camera shot, the husband can be seen gaining ground through the stolen car's rear view mirror.
According to Thomas Gunning "no film made before World War 1 shows stronger command of film style and even out does Griffith for emotionally involved film making"!!!