Director: D.W. Griffith
Writer: Frank E. Woods
The Count sets out to make a private room for him and his Countess, built in such a way no one can see, hear, and most importantly, disturb them. But unbeknownst to the Count, his wife has set her eyes on the court minstrel. Based on Edgar Allan Poe's “The Cask of Amontillado” and Honoré de Balzac's “La Grande Breteche”.
11 min
Rating: 5.1/10
Released
Top Cast
Arthur V. Johnson
The Count
Marion Leonard
The Countess
Henry B. Walthall
The Minstrel
Mary Pickford
A Lady-in-Waiting
George Siegmann
Nobleman at Court
Mack Sennett
A Soldier
Movie Info
Director: D.W. Griffith
Writer: Frank E. Woods
Production Companies: American Mutoscope & Biograph
Countries: United States of America
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What Others Said
RottenPop:
D.W. Griffith brings us the longest running horror movie to date (1909). It is less horror and more tragic as the movie is probably one of the first “Horror” movies to actually tug on your heart strings a bit. This is also a movie that proves that there are other directors out there not just George Melies.
The story is simple enough, we have a king who has constructed a “Pleasure Room” for himself and his concubine. But alas, this concubine is not faithful and she goes ahead and screws around with the court troubadour. The king, heartbroken and sad, commands his masons to seal the concubine and her lover in this “Pleasure Room” the two embrace as the oxygen is depleted and die in each others arms.
What do i think of this? Well, D.W. Griffith is no George Melies, but he does make a valiant effort to shove Edgar Allan Poe’s vision into this 11 min. short. Extravagant costumes and a larger budget mean a more creative and fun story. The downsides are the vacant title cards and dialogue cards. This movie could have really benefited from some dialogue, even if we have to read it.
So far George Melies is definitely the king when it comes to keeping your attention in a silent film. All be it for 1 - 3 minuets usually. The cast of this film is really the saving point. Griffith used most of his regulars, Mary Pickford, Arther V. Johnson, and Mack Sennett. Per usual they seemed to be a package deal, as was the case with most of his films from that time.