Der große Eisenbahnraub

I just saw "The Great Train Robbery" in its entirety for the first time and I was truly amazed. Its hard to believe that the film is over 100 years old. It was shot from a stationary camera but it employs many of the cinematic techniques that have since become commonplace such as cross-cutting, the chase, the shootout etc. VCI Entertainment has released a marvelous 100 Year Anniversary Edition of the film in two versions...a completely silent version from the print owned by the U.S. Library of Congress and a second version with added music, color tints and sound effects.

Briefly, the story (filmed in the "wilds" of New Jersey), centers on four bandits who subdue a station agent (to keep him from sending out an alarm) and then climb aboard a train when it stops to take on water. Two of the bandits proceed to the mail car, kill the agent and make off with the loot. The others take care of the engineer and his fireman. One can imagine what the early audiences must have thought when one of the bandits suddenly throws the fireman off of the train. The cutting from the live action with the bandit and the fireman to the obvious dummy was quite innovative for the time.

The bandits then line up the passengers and rob them killing one of them as he tries to escape. They then ride the engine down the tracks to their waiting horses. Meanwhile the town folk are alerted at a local hoedown and form a posse to go after the robbers. What follows is a great little chase scene and the final showdown between the good guys and the bad guys, where you know who get what's coming to them.

The closing shot of actor George Barnes emptying his six shooter at the audience is perhaps one of the most famous shots in cinematic history. One can only imagine the effect that it must have had on the early audiences. I had always thought that this shot was at the beginning of the film. Early western pioneer "Broncho" Billy Anderson plays four roles in the film including one of the bandits.

Most of the scenes are filmed in medium to long shots. You don't really see the actors faces (except for Barnes as noted). But it is still a very good film for this or any time. It tells a complete and believable story in about 12 minutes and sets the stage for the many classic silent films that were to follow.

A truly historic cinematic experience.

As an early film, this film is quite spectacular. Ok, so it's only twelve minutes, but that is twelve minutes of pure action and entertainment. When this film was made, things like special effects were hardly thought of, but notice how well the transgression from person to doll on the "throw the dead guy off the train" goes, and how nicely they have "moved the train" without moving the camera when they leave the locomotive behind.

This movie is probably the best preview to how modern westerns became, at least if you take the best twelve minutes of many westerns, the twelve where people get shot, beat up and alerted. The movie follows it's storyline perfectly, and is easy to grasp the continuance throughout the film, in all, quite a masterpiece that comes highly recommended.

Christian Lockert

What can one say about an 11 minute film, which is reputed to be the first narrative motion picture to be shot in the United States? What does one compare it to when nothing had come before it? What is even more amazing is that parts of this movie are in color! The women's dresses at the dance are in color - each frame had been hand colored. The flashes from the barrels of the six shooters are red and an explosion sends up a riot of color. There is even a little girl in a red coat. Take that, Steven Spielberg!! Except for the last five seconds, all of the shots are in medium to long. The camera never moves. For each sequence, it is set in place and actors move in front of it.

It is a western, of course (shot in the wilds of New Jersey). A gang of bad guys knock out a train station clerk then board a departing train. They move to the car where there is a safe, blow the safe, stop the train and rob the passengers. Back in town, the clerk revives and tries to get help but passes out again. A little girl comes in wakes him up. The townspeople are having a dance when the clerk runs in to form a posse. The posse rides out and surrounds the gang, who is counting the loot in the woods. There is a gunfight and the robbers are killed. That is the whole story, but there is one short scene left - one of the most remarkable in film history. The all color episode lasts about 5 seconds. In medium close-up, a cowboy raises his pistol, points it directly at the camera, and fires three times. It is difficult for us to understand why this is here or what purpose it served. But when people who had never seen a movie before and didn't have any understanding of the technology first saw this man shooting at them, they screamed, fell to the floor, and ran for the door. It is also said that some in the audience pulled firearms and shot back. It is an early testament to the power that motion pictures had, even in its earliest incarnation. Thankfully, TCM ran TGTR without any modern musical accompaniment, as thousands must have seen it in the nineteen-aughts. I watched in total amazement. I was transported. Later, I reflected on how far movies had come and how little they had changed in the last 100 years. This movie is a priceless historical artifact that shows us just how much the past is still with us.

I enjoy this film even though it is very old and compared to today's cinema, very limited in its attempt at realism. But today's cinema would not be what it is without the original innovation of cinematic devices by Edwin S. Porter, one of films first masters. His progress in narrative construction and his work in special effects techniques astonished audiences like never before. His work was limited specifically because he used the static camera affecting the impact of each of his shots. His unique and influential editing style allowed the audience to take part in the action of the film, not sitting idly watching it. The movie is 12 minutes long and is considered the first narrative film in history. The most exciting scene is when the gangsters raid the train station and rob the train. The train is a really well done mat-shot of a train pulling into the station, frightening the audience in their seats. I personally am most excited by the final closing scene of the gangster shooting his gun, aiming it directly at the audience. This audience point of view shot makes me feel like the narrative of the train robbery enticed me to cheer for the Sheriff, and the angry gangster shoots at me because I was cheering for his enemy. This film and this sequence of the gangster shooting the audience was solidified in cinematic history when Martin Scorsese pays homage in 'Goodfellas', with Joe Pesci gun barrage and sinister look.

The wild west. Tales of daring do on horse back. Such images conjured up by the term "wild west" conjure images of cowboys making peace with indians, train robberys, buffalo hunts and the indian wars. This term also conjures up law and order which, in that era a live by the sword and die by it venture. THE GREAT TRAIN ROBBERY captures the brutal lawless stories of the old west and translates it to film. Literally the film that started it all, this film proved story telling had moved from cave wall drawings, to pen and paper, and now celluloid. A great film for the era in which it was made and today as a historical heirloom. The GREAT TRAIN ROBBERY helped permanently capture the imagination of audiences everywhere.