The Final Settlement

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Noticing that Jim is partial to a drink, Ruth breaks off her engagement to him and turns to John, who until then had kept his love for her to himself. They get married and move to a cabin in the forest where John works as a woodcutter. In the meantime, Jim, who has become a hoodlum and ignores that his rival has married his former fiancée, runs into John at the lumber camp and challenges him to a duel for the same evening. He then goes to look for money to buy himself alcohol, and breaks into John and Ruth’s cabin. Surprised to find Ruth there, he realizes that she has married John and has given him a child. On leaving the cabin, he looks to the vengeance the duel is going to allow him to wreak. Yet, he eventually thinks better and, ashamed at his own idea and out of the love he still feels for Ruth, decides to spare her husband’s life. He shows up at the duel with a gun loaded with blanks.

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05-01-1910

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US

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15 min

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Director
D.W. Griffith

D.W. Griffith

David Llewelyn Wark Griffith was a premier pioneering American film director. He is best known as the director of the controversial and groundbreaking 1915 film The Birth of a Nation and the subsequent film Intolerance (1916). Griffith's film The Birth of a Nation made pioneering use of advanced camera and narrative techniques, and its immense popularity set the stage for the dominance of the feature-length film. It also proved extremely controversial at the time and ever since for its negative depiction of Black Americans and their supporters, and its positive portrayal of slavery and the Ku Klux Klan. Griffith responded to his critics with his next film, Intolerance, intended to show the dangers of prejudiced thought and behavior. The film was not the financial success that its predecessor had been, but was received warmly by critics. Several of his later films were also successful, but high production, promotional, and roadshow costs often made his ventures commercial failures. Even so, he is generally considered one of the most important figures of early cinema.
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