From the heights of joy to the depths of grief

Ten Miles from Beautiful Downtown Burbank

Mission San Fernando Rey - 15151 San Fernando Mission Boulevard, Mission Hills, Los Angeles, California, USA

Gladys Egan and Charles West in In the Border States (1910)

Lillian Gish and Dorothy Gish in An Unseen Enemy (1912)

The miner's daughter persuades him to return to civilization.

Marion Leonard

Dell Henderson

W. Chrystie Miller

Stanner E.V. Taylor

A lone miner and his daughter make the journey to California by prairie schooner.

D.W. Griffith

Over Silent Paths

If you look close you can see a sign saying it&apos;s that far from Burbank in this one-reeler shot by Griffith on his California trip in 1910. Marion Leonard is pretty far from her usual society lady role in this drama about how Dell Henderson shoots her father, W. Chrystie Miller, for the gold he has mined. It&apos;s a short piece about redemption and forgiveness and it&apos;s shot beautifully. The modern viewer may be a bit impatient with it, since it depends very heavily of Miss Leonard&apos;s pantomime to communicate a wide range of emotions.

Nonetheless, Billy Bitzer&apos;s camera-work more than makes up for the workaday plot. He shoots the desert scenes from knee level, raising the horizon above the audience, making civilization impossibly distant. He also gives us extensive shots of San Fernando in 1910, a western town of wooden buildings -- with advertising! -- and adobe shacks. My, how things change.

If you look close you can see a sign saying it's that far from Burbank in this one-reeler shot by Griffith on his California trip in 1910. Marion Leonard is pretty far from her usual society lady role in this drama about how Dell Henderson shoots her father, W. Chrystie Miller, for the gold he has mined. It's a short piece about redemption and forgiveness and it's shot beautifully. The modern viewer may be a bit impatient with it, since it depends very heavily of Miss Leonard's pantomime to communicate a wide range of emotions.

Nonetheless, Billy Bitzer's camera-work more than makes up for the workaday plot. He shoots the desert scenes from knee level, raising the horizon above the audience, making civilization impossibly distant. He also gives us extensive shots of San Fernando in 1910, a western town of wooden buildings -- with advertising! -- and adobe shacks. My, how things change.

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Over Silent Paths

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