Skip to main content

The First Ever Hollywood Film

Recognized as one of the founding fathers of the American film industry, David Wark Griffith, known as D. W. Griffith, was born in Crestwood, Kentucky on January 22, 1875. He was the fourth son of Mary Perkins Oglesby, a devout Methodist who came from a prominent Southern family; and Jacob Wark Griffith, a Confederate States Army colonel who had fought in the American Civil War. When Jacob died suddenly in 1885, the Griffith family was left in debt-ridden poverty. Four years later, David moved with his mother and siblings to nearby Louisville, where they were forced to take in boarders to make ends meet. After school, David would help the family by working as a newspaper boy and selling vinegar on commission to local grocers. In 1890, he abandoned high school to seek full-employment. He briefly worked as a cash boy at the J. C. Lewis Dry Goods store, before his boss promoted him to running the elevator. In 1893, he took a job as a clerk at Flexner's Book Store, Louisville's leading book shop, as well as one of the city's centers of intellectual and artistic life. The atmosphere around the Flexner shop not only refined Griffith's literary tastes, but also encouraged his ambition for a career in art.

D. W. Griffith ca. late 1890s
Around this time, Griffith began taking advantage of Louisville's rich theatrical life, saving a few cents each week for a cheap seat at one of the city's many playhouses. After failing to establish himself as a playwright, he decided to pursue a career on the stage, making his acting debut in an amateur production of The District School. He subsequently left home and joined a travelling theatre company, performing under the name of Lawrence Griffith. The first record of Griffith the actor appeared in a few lines of small type in the New York Dramatic Mirror for May 23, 1896. It said simply that an actor named Robert Haight produced and starred in a production of Richard Edwards' 16th-century Greek fable Damon and Pythias for «a small but well-please audience» at the Opera House in New Albany, Indiana, adding that Carroll Hyde as Lucullus and Lawrence Griffith as Dyonisius «were excellent.» Griffith spent the next ten years acting whenever he could and, when he could not, toiling on a lumber schooner along the west coast, picking hops in California and working as an iron puddler in an upstate New York foundry.

During play rehearsals when he was not needed on stage, Griffith continued to write, still wishing to become a great playwright. In 1907, James K. Hackett finally agreed to produce a play he had written entitled A Fool and a Girl. Unfortunately, the show was a failure, leaving Griffith and his young actress wife, Linda Arvidson, in serious need of money. Hoping to change their precarious financial situation, the couple travelled to New York, where Griffith tried to sell a script to Edwin S. Porter, a director, producer and cinematographer with the Edison Manufacturing Company, a pioneer motion picture organization. Four years earlier, Porter had co-written, directed, produced, photographed and edited The Great Train Robbery (1903), an innovative 12-minute Western now considered a milestone in filmmaking. Porter rejected Griffith's script, but he gave him instead a starring role in Rescued from an Eagle's Nest (1908), which also marked the screen debut of Henry B. Walthall, Griffith's frequent collaborator in later years. Attracted to the idea of acting in films, Griffith decided to explore a career in the new medium.

The Biograph studio entrance at 11
East 14th Street in Manhattan
In early 1908, Griffith began working as a writer and actor for the American Mutoscope and Biograph Company, which would soon change its name to simply Biograph Company. The first corporation in the United States devoted entirely to motion picture production and exhibition, Biograph had been founded in 1895 by William Kennedy Dickson, an inventor at Thomas Edison's laboratory who helped develop the technology of capturing moving images on film. Biograph's first studio was located on the roof of 841 Broadway at 13th Street in Manhattan, before the company moved in 1906 to a converted brownstone mansion at 11 East 14th Street near Union Square, a building that was demolished in the 1960s.

When Biograph's most regular director, Wallace McCutcheon Sr., became ill in June 1908, studio head Henry «Harry» Marvin asked Griffith to replace him. Following a tutorial by cinematographer G. W. «Billy» Bitzer — his future favorite cameraman — and two days of nearby location shooting in New Jersey and Connecticut, Griffith delivered The Adventures of Dollie (1908), a 10-minute tale about a young girl who is abducted by vengeful gypsies (Griffith's wife played the girl's mother). Pleased with his work, Biograph decided to sign Griffith to direct or supervise all of the company's films. Before the year's end, Griffith would helm another 48 short features for Biograph.

With his privileged position at the studio, Griffith began recruiting a large and talented group of performers, including Mary Pickford and her first husband Owen Moore, Billy Quirk, Blanche Sweet, Robert Harron, Florence Auer, Dorothy and Lillian Gish, Lionel Barrymore, Mabel Normand and Florence Lawrence, known at the height of her fame as «The Biograph Girl.» Mack Sennett, who would later found Keystone Studios in California, also honed his craft as a comedy actor and director at Biograph. During his five years with the company, Griffith would make nearly 500 films, many of them offering nostalgic and racist visions of the Old South. He culminated his work at Biograph with his first feature-lenght picture, Judith of Bethulia (1914), an epic dramatization of the Biblical story of the Jewish heroine who saved her community from the invading Assyrians.

D. W. Griffith at his desk in the Biograph office
In January 1910, Griffith took the Biograph acting company — along with Frank Powell (as co-manager and assistant director), two cameramen (including Billy Bitzer) and a prop boy — to California to finish filming scenes for The Newlyweds (1910), a 16-minute comedy starring Mary Pickford and Arthur V. Johnson. The story, about a girl who falls in love and then runs away with a Native American boy, took place on a California ranch. The rough New York winter was not quite the atmosphere he was looking for, so Griffith chose to complete the picture in Los Angeles, where the outdoor scenery would be more authentic. He also wanted to determine the suitability of the area for a permanent Biograph studio in California. Although Broadway was the center for the American entertainment industry in 1910, the Los Angeles Chamber of Commerce was trying to entice the motion picture companies to come to the sunny west coast, where filming on location was possible all year round.

Once in Los Angeles, Griffith rented a vacant lot on the corner of Grand Avenue and Washington Street to be used for filming. Pickford later described their working studio: «Our stage consisted on an acre of ground, fenced in, and a large wooden platform, hung with cotton shades that were pulled on wires overhead. On a windy day our clothes and curtains on the set would flap loudly in the breeze. Studios were all on open lots — roofless and without walls, which explains the origin of the term 'on the lot.'» Without the luxury of dressing rooms, the actors were forced to put their costumes on before leaving their hotel each morning. Rehearsals took place in the loft of an old rented building on Main Street, where the company also stored its props and developed its films. In the evening, they would gather in the loft to watch the dailies and prepare for the next day's filming.

View looking southeast from Franklin Avenue toward
the intersection of Hollywood Boulevard (then
Prospect Avenue) and Orchid Avenue (1905)
In 1910, the village of Los Angeles was linked to the small suburb of Hollywood by a dirt road called Sunset Boulevard, which would inspire the iconic Billy Wilder film of the same name four decades later. The streets of Hollywood were unpaved, the gardens spilled right on the roadway and the landscape was made of sagebush, swaying palms and fields filled with tall grass and wildflowers.

After Griffith and his players finished production on The Newlyweds, they decided to travel to Hollywood, which they had heard was a rather friendly community. While there, Griffith shot In Old California (1910), the first picture to be entirely filmed in Hollywood. This 17-minute costume melodrama was photographed by Billy Bitzer and starred Marion Leonard, Frank Powell, Arthur V. Johnson and Henry B. Walthall. Apparently, it was during the making of In Old California that Griffith uttered the now famous catchphrase «Lights, camera, action!» for the first time in history.

An ad published by Biograph in the trade journal Moving Picture World in March 1910 called In Old California as «a romance of the Spanish dominion,» adding a short description of its storyline: 

The story told in this Biograph subject is of the early days of Southern California before and after Mexican independence was proclaimed. A young Mexican girl rejects her Spanish suitor in favor of a handsome young Mexican troubadour, only to rue it, for her husband proves to be a disreputable wretch. Twenty years later we find her in profound distress as to the future of her young son. The father's conduct being anything but exemplary, she intercedes with her former sweetheart, who is now Governor, and he takes him into his army. Here the blood of the father is evident in the son, for he is a born profligate. Still, the Governor keeps this from the mother, who dis believing her son a hero.

Premiering on March 10, 1910, In Old California was considered lost for many decades until it was finally found in 2004 and screened at the Beverly Hills Film Festival, marking the first time the film had been seen by the public in 94 years. On May 6, 2004, a monument built by the Hollywood Forever Cemetery to honor the film was erected at 1713 Vine Street, just north of Hollywood Boulevard, close to the site on which In Old California was shot. In April 2005, the 2.8-ton monument was stolen over night under mysterious circumstances, but it was recovered almost a year later near a garbage bin not far from where it used to stand on Vine Street. For a long time, the first film thought shot in Hollywood was Cecil B. DeMille's western drama The Squaw Man (1914), starring Dustin Farnum, which indeed holds the record of the first feature-lenght picture produced there. However, the discovery of In Old California made it the first movie of any lenght ever filmed in Hollywood.

Bringing Up Oscar: The Story of the Men and Women Who Founded the Academy by Debra Ann Pawlak (Pegasus, 2012)
D. W. Griffith: An American Life by Richard Schickel (Limelight Editions, 1996)
D. W. Griffith: Master of Cinema by Ira H. Gallen (Friesen Press, 2015)
Mary Pickford: Canada's Silent Siren, America's Sweetheart by Peggy Dymond Leavey (Dundurn, 2011)
The Films of D. W. Griffith by Scott Simon (Cambridge University Press, 1993) 
In Old California film ad 


  1. I'm reading a really great book at the moment, Silent Movies: The Birth of Film an the Triumph of Movies by Peter Kobel, and the history of film really is FASCINATING. I've only recently delved into silent films (it took me a long, LONG, LONG time) but I'm glad I did. Great post :)

  2. This comment has been removed by a blog administrator.


Post a Comment

Popular posts from this blog

Golden Couples: Gary Cooper & Patricia Neal

It was April 1948 when director King Vidor spotted 22-year-old Patricia Neal on the Warner Bros. studio lot. A drama graduate from Northwestern University, she had just arrived in Hollywood following a Tony Award-winning performance in Lillian Hellman's Another Part of the Forest . Impressed by Patricia's looks, Vidor approached the young actress and asked if she would be interested in doing a screen test for the female lead in his newest film, The Fountainhead (1949). Gary Cooper had already signed as the male protagonist, and the studio was then considering Lauren Bacall and Barbara Stanwyck to play his love interest.          Neal liked the script and about two months later, she met with the director for sound and photographic tests. Vidor was enthusiastic about Patricia, but her first audition was a complete disaster. Cooper was apparently watching her from off the set and he was so unimpressed by her performance that he commented, « What's that!? » He tried to con

Golden Couples: Henry Fonda & Barbara Stanwyck

In the mid- and late 1930s, screwball comedy was in vogue and practically every actress in Hollywood tried her hand at it. Barbara Stanwyck never considered herself a naturally funny person or a comedienne per se , but after delivering a heart-wrenching performance in King Vidor's Stella Dallas (1937), she decided she needed a « vacation » from emotional dramas. In her search for a role, she stumbled upon a « champagne comedy » called The Mad Miss Manton (1938), originally intended as a Katharine Hepburn vehicle. Barbara Stanwyck and Henry Fonda as Melsa and Peter in The Mad Miss Manton .   Directed by Leigh Jason from a script by Philip G. Epstein, The Mad Miss Manton begins when vivacious Park Avenue socialite Melsa Manton finds a corpse while walking her dogs in the early hours of the morning. She calls the police, but they dismiss the incident — not only because Melsa is a notorious prankster, but also because the body disappears in the meantime. Sarcastic newspaper editor

Films I Saw in 2020

For the past four years, I have shared with you a list of all the films I saw throughout 2016 , 2017 , 2018 and 2019 , so I thought I would continue the «tradition» and do it again in 2020. This list includes both classic and «modern» films, which make up a total of 161 titles. About three or four of these were re-watches, but I decided to include them anyway. Let me know how many from these you have seen. As always, films marked with a heart ( ❤ ) are my favorites. Sherlock Jr. (1924) | Starring Buster Keaton, Kathryn McGuire and Joe Keaton The Crowd (1928) | Starring James Murray, Eleanor Boardman and Bert Roach Young Mr. Lincoln (1939) | Starring Henry Fonda, Alice Brady and Marjorie Weaver Brief Encounter (1945) | Starring Celia Johnson, Trevor Howard and Stanley Holloway The Bells of St. Mary's (1945) | Starring Bing Crosby and Ingrid Bergman The Girl He Left Behind (1956) | Starring Tab Hunter and Natalie Wood Gidget (1959) | Starring Sandra Dee, Cliff Robertson an

Wings of Change: The Story of the First Ever Best Picture Winner

Wings was the first ever film to win the Academy Award for Best Picture. Since then, it has become one of the most influential war dramas, noted for its technical realism and spectacular air-combat sequences. This is the story of how it came to be made.   A man and his story The concept for Wings originated from a writer trying to sell one of his stories. In September 1924, Byron Morgan approached Jesse L. Lasky, vice-president of Famous Players-Lasky, a component of Paramount Pictures, proposing that the studio do an aviation film. Morgan suggested an «incident and plot» focused on the failure of the American aerial effort in World War I and the effect that the country's «aviation unpreparedness» would have in upcoming conflicts. Lasky liked the idea, and approved the project under the working title «The Menace.»   LEFT: Byron Morgan (1889-1963). RIGHT: Jesse L. Lasky (1880-1958).   During his development of the scenario with William Shepherd, a former war correspondent, Morga

80 Reasons Why I Love Classic Films (Part II)

I started this blog six years ago as a way to share my passion for classic films and Old Hollywood. I used to watch dozens of classic films every month, and every time I discovered a new star I liked I would go and watch their entire filmography. But somewhere along the way, that passion dimmed down. For instance, I watched 73 classic films in 2016, and only 10 in 2020. The other day, I found this film with Douglas Fairbanks Jr. that I had never heard of — the film is Mimi (1935), by the way — and for some reason it made me really excited about Old Hollywood again. It made me really miss the magic of that era and all the wonderful actors and actresses. And it also made me think of all the reasons why I fell in love with classic films in the first place. I came with 80 reasons, which I thought would be fun to share with you. Most of them are just random little scenes or quirky little quotes, but put them together and they spell Old Hollywood to me. Yesterday I posted part one ; here i

Top 10 Favourite Christmas Films

Christmas has always been a source of inspiration to many artists and writers. Over the years, filmmakers have adapted various Christmas stories into both movies and TV specials, which have become staples during the holiday season all around the world. Even though Christmas is my favourite holiday, I haven't watched a lot of Christmas films. Still, I thought it would be fun to rank my top 10 favourites, based on the ones that I have indeed seen. Here they are.  10. Holiday Affair (1949) Directed by Don Hartman, Holiday Affair tells the story of a young widow (Janet Leigh) torn between a boring attorney (Wendell Corey) and a romantic drifter (Robert Mitchum). She's engaged to marry the boring attorney, but her son (Gordon Gebert) likes the romantic drifter better. Who will she choose? Well, we all know who she will choose.   Holiday Affair is not by any means the greatest Christmas film of all time, but it's still a very enjoyable Yule-tide comedy to watch over the holi

The Gotta Dance! Blogathon: Gene Kelly & Judy Garland

In 1940, up-and-coming Broadway star Gene Kelly was offered the lead role in Richard Rodgers and Lorenz Hart's new musical Pal Joey , based on the eponymous novel by John O'Hara about an ambitious and manipulative small-time nightclub performer. Opening at the Ethel Barrymore Theatre on Christmas Day of that year, the show brought Gene his best reviews up to that date. For instance, John Martin of The New York Times wrote of him: «A tap-dancer who can characterize his routines and turn them into an integral element of an imaginative theatrical whole would seem to be pretty close, indeed, to unique .»   One of Gene's performances in Pal Joey was attended by established Hollywood star Judy Garland , who requested to meet him after the show. Gene agreed and then accompanied Judy and her entourage, which included her mother Ethel and several press agents, to dinner at the newly-opened Copacabana nightclub, at 10 East 60th Street. They sang and danced until 3 a.m., after whi

Films I Saw in July & August

In the past five years, I shared a year-end list of the films I saw throughout 2016 , 2017 , 2018 , 2019 and 2020 . For 2021, I decided to do this monthly and share a list of the films I saw during each month of the year. These are the films I saw in July and August, which make up a total of 18 titles. As always, films marked with a heart ( ❤ ) are my favourites.   Resistance (2011) | Starring Andrea Riseborough, Tom Wlaschiha and Michael Sheen Siberian Education [Educazione siberiana] (2013) | Starring Arnas Fedaravi čius The Last of Robin Hood (2013) | Starring Kevin Kline and Dakota Fanning The Water Diviner (2014) | Starring Russell Crowe, Olga Kurylenko and Yılmaz Erdoğan Holding the Man (2015) | Starring Ryan Corr, Craig Stott and Anthony LaPaglia The Last King [Birkebeinerne] (2016) | Starring Jakob Oftebro and Kristofer Hivju The Pass (2016) | Starring Russell Tovey and Arinzé Kene Access All Areas (2017) | Starring Ella Purnell, Edward Bluemel and Georgie Henle

The Sinatra Centennial Blogathon: Frank Sinatra & Gene Kelly

  In January 1944, MGM chief Louis B. Mayer happened to see a young crooner by the name of Frank Sinatra perform at a benefit concert for The Jewish Home for the Aged in Los Angeles. According to Nancy Sinatra, Frank's eldest daughter, Mayer was so moved by her father's soulful rendition of « Ol' Man River » that he made the decision right then and there to sign Frank to his studio. Sinatra had been on the MGM payroll once before, singing with the Tommy Dorsey Orchestra in the Eleanor Powell vehicle Ship Ahoy (1942), although it is very likely that Mayer never bothered to see that film. Now that Frank was «hot,» however, Metro made arrangements to buy half of his contract from RKO, with the final deal being signed in February of that year. Gene Kelly and Frank Sinatra in  Anchors Aweigh Being a contract player at the studio that boasted «more stars than there are in the heavens» gave Frank a sudden perspective regarding his own talents as a film performer. The «g

Films I Saw in May & June

In the past five years, I shared a year-end list of the films I saw throughout 2016 , 2017 , 2018 , 2019 and 2020 . For 2021, I decided to do this monthly and share a list of the films I saw during each month of the year. These are the films I saw in May and June, which make up a total of 16 titles. As always, films marked with a heart ( ❤ ) are my favourites.   Pelle the Conqueror [Pelle Erobreren] (1987) | Starring Pelle Hvenegaard The Elementary School [ Obecná škola] (1991) | Starring Václav Jakoubek Female Agents [Les Femmes de l'ombre] (2008) | Starring Sophie Marceau Stefan Zweig: Farewell to Europe [Vor der Morgenröte] (2016) | Starring Josef Hader ❤ Cold War [Zimna wojna] (2018) | Starring Tomasz Kot, Joanna Kulig and Borys Szyc Dreamland (2019) | Starring Finn Cole, Margot Robbie, Travis Fimmel and Garrett Hedlund Mr Jones (2019) | Starring James Norton, Vanessa Kirby and Peter Sarsgaard Official Secrets (2019) | Starring Keira Knightley, Matt Smith an