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Great Train Robbery
© Unknown - all rights reserved |
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| Tookey's Rating |
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5
/10 |
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| Average Rating |
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7.14
/10 |
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| Starring |
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Marie Murray, Broncho Billy Anderson, George Barnes (pictured)
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Directed by:
Edwin S. Porter 
Written by:
Edwin S. Porter
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| Released: |
1903 |
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| Genre: |
ACTION
WESTERN
ADVENTURE
IMPORTANT
SILENT
CRIME
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| Origin: |
US |
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| Colour: |
BW |
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| Length: |
10 |
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PRO Reviews
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| | | | | "Whilst the picture was shown, our nerves were sorely tried. The scene where the lady [is] robbed... is a triumph. The whole film is highly sensational and we can recommend any exhibitor looking for a film which will make the audience hold their breath, purchase this film." | | (Optical Lantern and Cinematograph Journal, 1904) | | | | | "The first real attempt to tell a story by moving pictures... [With it] the story-film was launched on its long and prosperous career." | | (Paul Rotha, The Film Till Now, 1930) | | | | "During the years 1902 to 1906, he [Porter] discovered the principle of editing (The Life of an American Fireman) and developed its methods to include direct story construction (The Great Train Robbery), contrast construction (The Ex-Convict), and parallel construction (The Kleptomaniac). In these years also he reached out daringly for new social subject matter (White Caps, The Miller's Daughter), explored more carefully the use of camera devices (Dream of a Rarebit Fiend), and enlarged the scale of production (Uncle Tom's Cabin)". | | (Lewis Jacobs, 1939) | | | | "The success of this film was too overwhelming to be long ignored. It established the single reel as the standard length for American films (between eight and twelve minutes of film). It set both the fashion and the pattern for Western films. And it inspired other directors to join Porter in exploring the implications of his disjunctive style of editing, his free juggling of time and space. Their cameras were no longer confined to the studio: scenes taken on location were combined with shots staged against painted sets. And all were assembled and given their final form at the cutting bench, generally by the director himself." | | (Arthur Knight, 1957) | | | |
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