Those Awful Hats

Early film short directed by D.W. Griffith; it might be more accurately called a "short short" at barely three minutes. It is entertaining, though. The director is saying, "Ladies, please remove your hats!" Why? Because you can't match a movie when some woman parks herself in front of your seat, and leaves her HUGE hat on.

There are some early silent film stars in attendance - obviously Flora Finch, Linda Arvidson, and Florence Laurence. Mack Sennett is the man with the finny nose and the checkered suit. The men are not easy to identify, with their backs turned; but, that must be Robert Harron in the lower right of your screen, going crazy over "Those Awful Hats".

The film really MOVES… all the time, there is movement ALL OVER the screen. Ms. Arvidson recalled, in her autobiography, "How many times that scene was rehearsed and taken! It grew so late and we were all so sleepy that we stopped counting. But pay for overtime evolved from this picture."

***** Those Awful Hats (1/25/09) D.W. Griffith ~ Flora Finch, Mack Sennett, Robert Harron, Linda Arvidson

I wonder if this was a major problem a long time ago. I'll bet it was. I am referring to the subject matter of this early and very short D.W. Griffith film: rude people wearing big hats to the theater and blocking the view of those in back of them.

Considering that people have probably been inconsiderate for as long as humans have inhabited the planet, this might have been a problem. Since people haven't word big hats in a generation or two, a lot of people don't remember "big hat days." Whatever, it makes for an amusing little film with a unique suggestion to dealing with the problem! If people were slow to get the message, the director put in print at the end.

The special-effects aren't exactly state-of-the-art for today's audiences but I bet they shocked the film-goers 99 years ago, when this was seen.

This ultra-short film (only 2 minutes long) uses very rudimentary techniques, but it's rather interesting. It's about a theater full of people watching a movie, so there are two different screens combined into one image, and while the 'special effect' is not very good by the standards of later eras, it was probably a clever idea for its time. The light-hearted nature of this feature is an interesting contrast to the ultra-serious films that Griffith usually made.

The name of D.W Griffith holds a special significance in cinema. Some of the greatest motion picture legends have paid tribute to his pioneering film-making, including John Ford and Orson Welles. Notably, Charles Chaplin once described Griffith as "The Teacher Of Us All." The director's unending praise is certainly not undeserved, his most revered films including the controversial 'The Birth of a Nation (1915),' 'Intolerance (1916),' 'Broken Blossoms (1919),' 'Way Down East (1920)' and 'Orphans of the Storm (1921),' many of which I have yet to have the pleasure of seeing. Surprisingly, Griffith didn't start his movie career in directing at all. After he failed in his bid to become a playwright, the young man became an actor, finally discovering his niche in film directing.

However, before he started producing his spectacular feature-length epics, Griffith was a very prolific director of short films. Between 1908 and 1913, Griffith worked for the Biograph Company, producing a mammoth 450 films in the space of only six years, sometimes averaging a rate of two or three in a week. These Biographs allowed the young director to polish his film-making skills, experimenting with revolutionary techniques – such as cross-cutting, camera movement and close-ups – that would later become commonplace in practically every movie that followed. As we move through Griffith's early works, we watch as his short films slowly become more and more elaborate and ambitious. 'Those Awful Hats (1909)' is one of early shorts, and was really meant as nothing more than an amusing three-minute comedic skit to precede a film screening and remind the women in the audience to remove their head-wear.

The film is basically played out in a single take, with an audience of attentive cinema-goers seated comfortably in a movie theatre. Using a process known as the Dunning-Pomeroy Matte process, Griffith was able to split the frame into two sections, splicing the film-within-a-film onto the same screen. With the audience members seated peacefully, their film enjoyment is suddenly disrupted when a lady wearing an elaborate hat seats herself in the front row, blocking everybody else's view of the screen. There are gestures of protest, but the women is evidently completely oblivious, and the male audience members become further exasperated as several more women take their places at the front of the theatre, each wearing a more sophisticated piece of head-wear than the last. The scene turns into an enjoyable farce when a large steel contraption lowers from the ceiling to confiscate the troublesome hats, the machine inadvertently taking one of the women to the ceiling with it.

Aside from the historical significance of its being an early Griffith Biograph, there is nothing particularly phenomenal about 'Those Awful Hats.' However, it does effectively display the director's unique creative vision, proving – if his later films left you in any doubt – that the genius' mind does house a healthy sense of humour.

This three-minute farce is one of the most unique and unusual Biograph shorts. Those Awful Hats sees DW Griffith, father of film narrative, doing what is virtually a non-narrative film. A one-liner, basically, giving a message to the audience in a fresh, entertaining form that they would take notice of.

This is also Griffith's only special effects film in the mode of Georges Melies. Melies' trick shot shorts had been widely imitated throughout the 1900s, although by 1909 they were dying out as cinema became less of a magic show and more of a storytelling medium. Griffith not only makes smooth use of a few Melies techniques (superimposition and stop motion) but has also absorbed some of the older pioneer's extreme and absurd comedy style, with the huge grabbing machine. Griffith was just making passing use of the style though – he was rather more subtle (for the era) in his regular shorts.

What is more interesting today is that this is one of the earliest films in which cinema references itself. You have a screen audience being watched by a real audience, and a film within a film. Nothing really symbolic here – this isn't Fritz Lang – but it does show you how much of an institution cinema was becoming, as well as being a rare glimpse into what a movie theatre of the time would look like (minus the grabby thing of course).

Although his point-and-shoot approach has been denounced as theatrical (although it is no more so than that that of his contemporaries), at this point Griffith was really starting to experiment with the infinite possibilities of depth within the frame. The screen was a stage for Griffith, but it was the biggest and most versatile stage imaginable, into which a street, a beach or even another theatre could be placed. The idea of a "show-within-a-show" may date back to Shakespeare's Taming of the Shrew, or perhaps even earlier, but at this stage in the game Griffith's introduction of theatrical and literary devices was moving the medium forward, not holding it back.

When you recall that it was made as a public service announcement, in the same vein as those "turn off your phone" things you get in cinemas today, Those Awful Hats is simple yet effective. It doesn't show you Griffith the master of film technique, just a functional short by a practical filmmaker.