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UID:20260521T022831CEST-0378b17WrD@http://www2.movingimage.us
DTSTAMP:20260521T002831Z
DESCRIPTION:\n	Introduced by Richard Koszarski \n	\n	Live music by Donald S
 osin \n	\n	\n	Although he was already spending half the year in California
  by 1912\, D. W. Griffith still spent every summer and fall in New York. A
 voiding the cramped Biograph studio on East Fourteenth Street whenever pos
 sible\, Griffith and his company preferred to take the ferry to Fort Lee w
 here exteriors for all the films in this program were shot (even those tha
 t seem to have been shot on the Lower East Side). There he could work on u
 ncrowded streets and tap into a supportive infrastructure of local hotels\
 , businesses\, and movie-struck extras\, treating the town as his personal
  back lot. \n	\n	\n	All films directed by D. W. Griffith from 1912. \n	\n	
 Program runs approximately 85 minutes. \n\n\n	The Narrow Road \n	\n	35mm\,
  Library of Congress. With Mary Pickford. An ex-convict tries to go straig
 ht for the sake of his family\, but the law—and some of his old associates
 —won’t make it easy. Also starring the remarkable Elmer Booth\, who not on
 ly looks like James Cagney but seems to have all the same mannerisms. \n	
 \n	\n	An Unseen Enemy \n	\n	35mm\, preserved by The Museum of Modern Art w
 ith support from the Lillian Gish Trust for Film Preservation. With Lillia
 n Gish\, Dorothy Gish. The first screen appearance of the Gish sisters\, t
 rapped in an isolated country house and menaced by a dissolute housemaid. 
 But the real interest here is the race to the rescue\, which runs back and
  forth all over Bergen County\, even defying the treacherous bridge over t
 he Hackensack River. \n	\n	\n	\n	The Painted Lady \n	\n	35mm\, The Museum 
 of Modern Art. With Blanche Sweet. No chases or last-minute rescues here. 
 Or even much of a happy ending. Instead\, Griffith offers social context a
 nd performance style. Critics of the day\, accustomed to “mad scenes” that
  could blow the roof off\, sat astonished as the sixteen-year-old Sweet sh
 owed that with movie acting\, less really could be more. \n	\n	\n	\n	The M
 usketeers of Pig Alley \n	\n	16mm\, Museum of Modern Art. With Lillian Gis
 h\, Elmer Booth. Inspired by New York newspaper accounts of street gangs a
 nd police corruption\, this landmark film packs an entire world of crime a
 nd redemption into the confines of a one-reel melodrama. And as usual with
  Griffith\, when authority proves feckless\, community is all we have to d
 epend on. \n	\n	\n	\n	The New York Hat \n	\n	35mm print\, the Museum of Mo
 dern Art. With Mary Pickford\, Lionel Barrymore. Why is the minister sendi
 ng extravagant gifts to Little Mary? The town’s self-appointed moral guard
 ians (Griffith’s favorite villains) think they have the answer. A little m
 asterpiece of comedy\, romance\, melodrama\, and social criticism\, graced
  with a pair of elegantly understated performances from Pickford and Barry
 more. \n	\n	\n	\n	The Burglar’s Dilemma \n	\n	16mm print\, Niles Essanay S
 ilent Film Museum. With Henry B. Walthall\, Lionel Barrymore. While the po
 lice\, as usual\, are about to beat a confession out of the wrong man\, sp
 ineless weakling Walthall wrestles with a dilemma that arises after he kil
 ls his own brother. Justice is not a legal issue\, Griffith tells us\, but
  something much more personal. \n	\n	\n	\n	Free with Museum admission on a
  first-come\, first-served basis. Museum members may reserve tickets in ad
 vance by calling 718 777 6800. For more information about becoming a Museu
 m member and to join online\, please click here. \n	\n
DTSTART:20121111T150000
DTEND:20121111T150000
LOCATION:Museum of the Moving Image
SUMMARY:Griffith in Fort Lee
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