Laikals The greatest movie ever made..!

Ketrivie It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

ChampDavSlim The acting is good, and the firecracker script has some excellent ideas.

Bea Swanson This film is so real. It treats its characters with so much care and sensitivity.

marlene_rantz I loved this movie, and I loved Arthur V. Johnson's performance in it. I have seen him in several movies, and he was always excellent in them. He is described as a "pioneer actor and director of the early American silent film era", but an even better description would be "the first great actor in silent films", and he was certainly great in this movie! I do not think he over-acted: he was required to play a man outraged by his woman's infidelity, and that is how he acted it. Much credit should be given to director D.W. Griffith, and to co-stars Marion Leonard and Henry B. Walthall, who both turned in excellent performances. Considering this movie was made in 1909, I would say it is a superior movie, and I definitely recommend it!

ackstasis By 1909, D.W. Griffith had been directing films for the Biograph Company for about a year, and – working at a rate of two or three per week – was rapidly beginning to develop his skills as a filmmaker. 'The Sealed Room' is a very interesting 11 minute short, a fascinating piece of Gothic melodrama that even drifts slightly into the realm of early horror. The simple narrative was probably inspired by Edgar Allen Poe's 1846 short story, "The Cask of Amontillado," and concerns a powerful king who conceives a deliciously sadistic form of revenge to punish his wife's infidelity.Set in medieval times, 'The Sealed Room' begins with the king (Arthur V. Johnson) overseeing the construction of a windowless room from a sequestered dove-cote, the idea being that he and his wife (Marion Leonard) will have a completely private place to enjoy each other's company. He is obviously very much in love with her, always showing his affection, this latest act the crowning achievement of his endearment. However, unbeknownst to the king, his wife has fallen in love with the royal minstrel (Henry B. Walthall). During one romantic liaison inside the specially-built room, the wife and the minstrel are discovered, and the heartbroken king conceives a means of getting his retribution on the ignorant couple. Silently, he orders his workmen to seal off the only doorway with stone and mortar, slowly descending into cackling insanity as each new stone is placed down.D.W. Griffith always had an eye for acute detail, and 'The Sealed Room' is an excellent early example of this. The lavish medieval century costumes lend the film a sense of reality, and the castle interior looks authentic enough to be believable. At the time, the director was also pioneering methods of creating suspense, and I must admit that, as the film progressed, I became fixated on finding out what would happen to the hapless young lovers. In the early minutes, Griffith restricts his shots to lengthy long-takes from a stationary camera (as was usual at the time), but soon – parallel to the progressively darker subject matter – he alters his editing tactics in a fascinating way. Though he may not have invented the technique, Griffith was crucial in popularising the use of "cross-cutting" – that is, alternating between different events occurring at the same time. Not only does this create a sense of continuity, but it also maximises the level of suspense, since we, as the audience, are well aware, not only of the king's ghastly actions, but also that the wife and the minstrel are oblivious to it all.Despite these innovations, 'The Sealed Room' suffers from many of the shortcomings typical of the era. The entire film takes place in just two rooms, with footage captured from a total of just three positions, and so it is prone to become dull and monotonous at times. The acting performances are greatly exaggerated for extra effect, however, at least in the case of Arthur V. Johnson, his overplaying actually contributed to recognising the escalating madness of the betrayed king. A moment that I thought particularly effective was when the two lovers attempted to exit the room, only to find their only doorway replaced with a wall of solid stone. Their panicked reactions, accompanied by the silent maniacal cackling of the king, serve very well to create an impending sense of claustrophobia. I did think, however, that their supply of oxygen was exhausted surprisingly quickly.

Snow Leopard There are enough positives to this short feature to make it a decent rendering of the idea of "The Sealed Room", familiar from a number of horror stories. The leading performers all give plenty of energy to their performances, and for the most part they are believable. Among its best aspects are the scenery and the costumes, which make the general atmosphere convincing. The physical limitations of the sets and the fixed camera field do, though, somewhat hinder how well the "sealed room" effect can work.The story is simple, and at one or two points its plausibility is rather strained. But it is the kind of macabre tale that holds your attention in spite of yourself. There have probably been other versions that were more effective, but this one tells the story clearly and efficiently, and it works reasonably well.

overseer-3 This early Biograph short was so much fun to watch. The second on disc one of D.W. Griffith's "Years of Discovery" DVD set (highly recommended) it features three excellent performances by the main leads, and interesting to see Henry B. Walthall (The Little Colonel, Birth of a Nation) as a campy musician giving a Countess the eye (and other things).The Countess' husband goes berserk at his wife's betrayal and has her walled into a little room with her paramour. It's kind of incredible that they wouldn't hear the wall going up, but hey, maybe the wine had something to do with it. Here Mr. Johnson (father of silent player Raymond Hackett) gesticulates wildly and this adds to the melodrama, but in an unexpectedly comical way. The best moment comes at the end. As the lady passes out from shock and fear, once she realizes she's doomed, Henry picks up his instrument and "fans" it over her. The way he did it was so unexpected and in a strange way kind of sexy, and I just lost it, and laughed my head off. The expression on his face! From that moment I was charmed by Henry B. Walthall.