The 100 to 1 Shot; or, A Run of Luck (Vitagraph, 1906)
A farmer is behind on his mortgage and a heartless creditor has come demanding payment. His daughter’s boyfriend pawns his watch for $50 and heads to the racetrack, where he picks up a hot tip. Literally, he picks it up — a “plunger” had dropped a note telling him to “Play Tommy Foster, STRAIGHT”. Boyfriend stakes it all on the long shot, and in an instant, $50 turns into $5,000. He races back to the farm, where the bailiffs have been called and even now are threatening to evict the old man. He arrives just in time. The farm is saved with money to spare.
If you’ve read… well, any book on film editing, you’ve probably heard about The 100 to 1 Shot (1906). After the boyfriend’s big win, he jumps in a taxi and speeds back to the farm, where the eviction is being carried out. The two events are occurring simultaneously, and to show that, the film cuts back and forth between the speeding taxi and the bailiffs manhandling the farmer. 100 to 1 may be the earliest example of cross-cutting, and if it isn’t, then at least it’s earliest example that both survives and is more or less readily available to watch. It marks a dramatic departure from the stage-bound, episodic form earlier films took — where every scene consisted of a single shot, usually including the actors entering the frame at the start and exiting it at the end, just as if on stage. Cutting was seen as analogous to closing the curtain, and when it was used, it tended to denoted elapsed time. There was a huge concern that cuts within scenes would disorient viewers. There’s no stage analogue to a camera angle change, and certainly not to cross-cutting between two locations. To a film historian, 100 to 1 marks the beginning of the modern concept of cinematic continuity.
It didn’t seem to be so well respected by its contemporaries, however. Most bemoaned the immorality of the subject — rewarding a gambler, how sinful! Why, these “movies” will be the downfall of America! You know what sort goes to see them and how impressionable those people are.
I do think it was the holier-than-thou backlash against films like 100 to 1 that prompted Vitagraph’s heavy investment in Quality Films a few years later — to legitimize itself and the medium in the eyes of the middle and upper class. Speaking of that, the binoculars gimmick that I thought worked so well in The Victoria Cross (1912) is also used here: Boyfriend has a pair that he watches the race through. It’s not as effective, but I thought it was an interesting connection.
My rating: I like it.