Three years after he turned out THE GREAT TRAIN ROBBERY, Edwin Porter returned to the same story with a difference perspective that, unhappily, does not work particularly well.It is, however, an interesting experiment in point-of-view shooting. With the Catskills Mountains standing in for the Rockies, this piece in seven shots tries to abbreviate film grammar.
The first part of the movie, as well as the final chase of the robbers, taking up half the length of the picture, are little more than traveling shots of the roadway and scenery -- competently shot, but old hat by 1906. Most of the story, then, is told from the point of view of the locomotive cab, all of it is done in medium and long shot, and the lack of variety simply does not work. Interesting as an experiment, and if you are an old railroad buff -- the line was reduced to a milk run by the early 1930s --this does not work as a story or a successful advancement of film technique.
The first part of the movie, as well as the final chase of the robbers, taking up half the length of the picture, are little more than traveling shots of the roadway and scenery -- competently shot, but old hat by 1906. Most of the story, then, is told from the point of view of the locomotive cab, all of it is done in medium and long shot, and the lack of variety simply does not work. Interesting as an experiment, and if you are an old railroad buff -- the line was reduced to a milk run by the early 1930s --this does not work as a story or a successful advancement of film technique.
