The Great Train Robbery

.

It follows a gang of outlaws who hold up and rob a steam locomotive at a station in the American West, flee across mountainous terrain, and are finally defeated by a posse of locals. The short film draws on many sources, including a robust existing tradition of Western films, recent European innovations in film technique, the play of the same name by Scott Marble, the popularity of train-themed films, and possibly real-life incidents involving outlaws such as Butch Cassidy.

Porter supervised and photographed the film in New York and New Jersey in November 1903; the Edison studio began selling it to vaudeville houses and other venues in the following month. The cast included Justus D. Barnes and G. M. Anderson, who may have also helped with planning and staging. Porter’s storytelling approach, though not particularly innovative or unusual for 1903, allowed him to include many popular techniques of the time, including scenes staged in wide shots, a matte effect, and an attempt to indicate simultaneous action across multiple scenes. Camera pans, location shooting, and moments of violent action helped give The Great Train Robbery a sense of rough-edged immediacy. A special close-up shot, which was unconnected to the story and could either begin or end the film depending on the projectionist’s whim, showed Barnes, as the outlaw leader, emptying his gun directly into the camera.

Due in part to its popular and accessible subject matter, as well as to its dynamic action and violence, The Great Train Robbery was an unprecedented commercial success. Though it did not significantly influence or advance the Western film genre, it was widely distributed and copied, including in a parody by Porter himself. During the twentieth century, inaccurate legends about The Great Train Robbery developed, claiming it was the first Western or even the first film to tell a story. Film scholars have repeatedly disproved these claims, demonstrating that The Great Train Robbery was a stylistic dead-end for its maker and genre; its commercial success and mythic place in American film lore nonetheless remain undisputed. The film, especially the close-up of Barnes, has become iconic in American culture, appearing in numerous film and television references and homages. In 1990, The Great Train Robbery was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.

They then knock the operator out and tie him up. As the train stops it is boarded by the bandits‍—‌now four. Two bandits enter an express car, kill a messenger, and open a box of valuables with dynamite. In a fight on the engine car, the others kill the fireman and force the engineer to halt the train and disconnect its locomotive. The bandits then force the passengers off the train and rifle them for their belongings. One passenger tries to escape but is instantly shot down. Carrying their loot, the bandits escape in the locomotive, disembarking in a valley where they left their horses.

Meanwhile, back in the telegraph office, the bound operator awakens but collapses again. His daughter arrives, bringing him his meal, and cutting him free when she discovers him bound; she restores him to consciousness by dousing him with water. There is some comic relief at a dance hall, where an Eastern stranger (a “tenderfoot”) is forced to dance while the locals fire at his feet. The door suddenly opens and the telegraph operator rushes in to tell them of the robbery. The men quickly form a posse and chase the bandits through the mountains. The posse finally overtakes the bandits, and in a final shootout kills them all and recovers the stolen mail.

A standalone final scene, separate from the narrative, presents a medium close-up of the leader of the outlaws, who empties his pistol point-blank directly into the camera.