His Trust: The Faithful Devotion and Self-Sacrifice of an Old Negro Servant

'His Trust (1911)' was always going to prove difficult for modern audiences, particularly with D.W. Griffith's reputation. Events can take on entirely different connotations when the viewer is consciously watching out for hints of racial prejudice. For example, when a white servant rescues the family of his employer, it's viewed as noble devotion to his fellow man; yet when a black man does it (or, more accurately, a white man in black-face), many simply consider it racist propaganda, or showing support for slavery. I think that this is a grossly superficial stance. Setting aside the rather ridiculous spectacle of white men performing in black-face, I thought that Griffith portrayed George (played by Wilfred Lucas), the trusted African-American servant of a Confederate soldier (Dell Henderson), with sympathy and humility. There's obviously a common bond between George and Col. Frazier, a mutual trust that overcomes racial boundaries. George does not rescue Frazier's daughter and memorial sword because he's a blindly-devoted slave, but because he's a human being, and that's what any decent human being would do.

'His Trust' was one of several Civil War shorts that Griffith directed, and it was shortly thereafter followed by a sequel, 'His Trust Fulfilled (1911),' which I haven't yet seen. 'In the Border States (1910)' is easily the better effort, mostly because it humanised both sides of the conflict, whereas here the despicable Yankees arrive only to loot a fallen soldier's home and burn it to the ground. Nevertheless, Griffit manages to build up a fair amount of pathos, particularly as Col. Frazier's wife (Claire McDowell), daughter by her side, turns to face the smouldering shell of her house, as its charred foundations tumble to the ground. An early Civil War battle scene emphasises the chaos of warfare, with smoke and gunfire battering the screen at random intervals, and Griffith underplays the deaths of soldiers left, right and centre, as though acknowledging the turmoil of combat. This isn't one of the director's finest hours, but it's a worthy enough Civil War tale, and, if you leave your racial preconceptions at the door, there's plenty to appreciate.

This D.W. Griffith short feature, the first of a two-film series, has some good technical aspects, but the story and characters are a bit too labored and contrived to be fully convincing. The content is a combination of two themes that Griffith seems to have considered important, namely, the society of the Pre-War South, and the concept of someone fulfilling a trust despite all obstacles.

Although the story becomes too exaggerated to work very well, it does start out with a worthwhile idea, with a father heading off to fight in the War, and entrusting the safety of his wife and daughter to a valued servant. It's the kind of experience that immediately evokes sympathy even from those who have not faced it.

Further, the large-scale scenes, such as the parade and the battle, are done quite well, especially considering the limitations of the era. One problem, though, comes into play with the portrayal of the slaves. There is no doubt that they were intended as sympathetic characters, but they also reflect Griffith's own idealized views, and as a result the portrayals are not convincing.

The story, which continues in "His Trust Fulfilled", has a handful of compelling moments, but it just never feels as if it has reached its potential.

His Trust (1911)

**** (out of 4)

A Union soldier goes to fight in the Civil War and asks his black servant George (Wilfred Lucas) to take care of his wife and children. After the soldier dies the servant must do everything he can to keep the family strong. I think this here is one of Griffith's strongest shorts and I'd add that I also think this film shows black in the most positive way of any early film I've seen. The debate on the blacks being in blackface could go on and on but Griffith worked from his own group actors. I think the film is incredibly strong story and action wise. The battle sequences aren't the biggest that the director handled in his career but they are still full of excitement and wonder. I think their greatest aspect is how realistic they are. The story itself is a quite touching one as the servant must do whatever he can to protect the family since he gave his word to do so. Loyalty and love are subjects Griffith would tackle many times but the special detail here really makes this movie stick out among the five-hundred plus that he made.

"His Trust" was the fourth of Griffith's seven Civil War Shorts. Actually there were only six, "His Trust" was the only two-reeler and against Griffith's wishes Biograph released it serially, calling the second reel "His Trust Fulfilled". It lacks the charm of the remaining five shorts and is painfully cornball in comparison to most of Griffith's Biograph work.

Wilfred Lucus (in blackface) plays George, a faithful Negro servant entrusted by his owner with the welfare of his wife and young daughter when he goes off to fight for the South. Predictibly the owner dies in a nicely staged battle sequence, union soldiers burn the mansion in a poorly staged arson sequence, and George rescues the daughter and his master's sword. The daughter grows up in George's cabin. In the second reel George pays for her education at a seminary, and resists the temptation to steal when his money runs out. She eventually marries her "cousin" (seriously) and George gets to keep the sword.

Although a rather weak story, "His Trust" is significant for several reasons. It's subject, a southern family reduced to poverty by the war mirrors Griffith's own situation. Griffith's father served in Kentucky's "Orphan Brigade" during the Civil War and the family never really recovered from the financial setbacks that resulted.

It's hero, a "good Negro", is portrayed affectionately-if somewhat patronizingly; a precursor of what was to come in "Birth of a Nation".

Finally, "His Trust" was Griffith's first foray outside the world of single reel shorts. Griffith was pressing Biograph for funding to do longer films. Other studios had already released the five reel "Life of Moses", a four reel "Les Miserables", and a three reel version of "Uncle Tom's Cabin". Biograph's resistance to the concept of longer films would eventually be a factor in Griffith's split with his original studio, a production house that owed its #1 reputation to Griffith's vision and innovation.

Even in 1910 Griffith seemingly had grasped the change that was taking place as feature length films would not be released serially but would play as extended showings in legitimate theaters.

Then again, what do I know? I'm only a child.

Subtitled "The faithful devotion and self-sacrifice of an old Negro servant", this early film portends the director D.W. Griffith's future "Birth of a Nation". When the Civil War breaks out, Confederate Del Henderson goes into battle, leaving his wife (Claire McDowell) and daughter in the hands of their beloved slaves. Patriarch of the household slaves is George (Wilfred Lucas); among other things, he plays "horsey" with the child by letting her ride on his back. When Yankees try to burn down the Master's house, George must spring into action. However intentioned, "His Trust" is a racist film. The loyal slaves are played by white actors in "black-face" makeup, and they look ridiculous. Didn't Griffith know any real "People of Color"; or, he didn't think they could act? Weren't there any darker skinned people in the USA who could play these roles?

** His Trust (1/16/11) D.W. Griffith ~ Wilfred Lucas, Claire McDowell, Dell Henderson