This is a guest post for Silent London to mark International Women’s Day by Kelly Robinson, curator of the Birds Eye View Sound and Silents programme.
Birds Eye View’s Mary Pickford Revived event is part of WOW – Women of the World Festival 2012 at the Southbank Centre. Amarilly of Clothes-Line Alley with The New York Hat and Female of the Species screen at the Southbank Centre on 9 March at 8pm (find out more). Sparrows screens at Hackney Picturehouse on 11 March at 4pm (find out more).
“My success has been due to the fact that women like the pictures in which I appear” – Mary Pickford
In any serious study of early cinema, prominent men such as the “Father of Film” DW Griffith and silent clown Charles Chaplin are always first to feature. Happily though, recent literature has sought to readdress this critical gender imbalance by also highlighting the contribution of similarly extraordinary pioneers – including Mary Pickford.
Pickford was certainly a creative force on a par with Chaplin, and the two had a lot in common. Like Chaplin, she also performed in the theatre from a young age to support her family. At 13, a precocious Pickford harangued theatre impresario David Belasco to hire her, apparently telling him: “I’m the father of my family.” Like many other theatre actors, she was initially disdainful of cinema but was drawn in by the financial rewards. She enquired at the bustling Biograph studios for work, and it was here that she met Griffith, the director of two of the beautiful shorts that feature as part of the Southbank programme.
The films in this programme span a period of just seven years but this was a time of rapid change. Indeed, in the months that separate Griffith’s The New York Hat and Female of the Species we can see striking developments in film form and style. The volume of films Biograph churned out was phenomenal and between 1909 and 1910 Pickford appeared in 80 films for Griffith.
Pickford said: “I got what no one else wanted and I took anything that came my way because I decided that if I could get into as many pictures as possible I’d become known, and there would be a demand for my work.” Indeed she quickly became a favourite with audiences, although they didn’t yet know her name; she was referred to as the ‘”girl with the curls”. Once she had established the extent of her fame, she asked for a rise from Griffith and her name on the screen.