This is quote an enjoyable early Griffith film in which he once more makes good use of cross-cutting to create an escalating feeling of tension. Based on an Edgar Allan Poe story, the film efficiently sets the scene as we see a deliriously happy king having all but one of the doors to his love nest sealed so that only his beloved can gain entrance. However, all is not quite as blissful between the king and his beloved as we might expect. Just look at the way the minstrel's lute playing becomes increasingly frenetic each time the king and his squeeze embrace. Sure enough, the moment he's out of the room, his girl and the minstrel are in each others arms.It's quite interesting to chart the increasing sophistication of films as the 20th Century approached the end of its first decade. The sets are still stagy, but they are more realistic than only a few years before, and the costumes in this period piece are surprisingly realistic. Future stars are also beginning to make an appearance: Arthur V. Johnson, who plays the King here, was one of Griffith's first, and Mary Pickford, who has a bit part in this film, would soon replace Florence Lawrence as the Biograph Girl.

I found it interesting that two very famous silent film stars, actress Mary Pickford and director Mack Sennett, had supporting roles in this D. W. Griffith silent film. To add another famous name to the mix, the screenplay was based on an Edgar Allen Poe novel.Yes, this short film looks creaky but it's one year short of being 100 years old, so you can't expect much as far as a big-budget film. It's hard to relate to much at all, actually, because movies were only 10-20 minutes long at that time anyway, and since there was no sound, the actors acted more like mimes.Since "talkies" were still almost two decades away, even the silent actors hadn't quite got their acts down yet. You can see the result: insane overacting and wild, crazy facial expressions - actually laughable at times. But, hey, it was 1909. I find it amazing we still have the opportunity to look at a movie this old, and appreciate the fact it's available.

Early film directed by D.W. Griffith; it features a gloriously happy King (Arthur V. Johnson) and his Queen (Marion Leonard) - but, wait! When the King leaves the scene, his Queen makes music with the palace's Minstrel (Henry B. Walthall). When the King discovers the lovers, he decides to enact a horrific Edgar Allen Poe-type revenge. It's difficult to believe the lovers can't hear those plotting against them; although the actors are trying to look alternately noisy (the lovers) and quiet (the cement mixers). The sets make "The Sealed Room" look very staged. The performances are okay, and the story is easy to follow. *** The Sealed Room (9/2/09) D.W. Griffith ~ Arthur V. Johnson, Henry B. Walthall, Marion Leonard

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.