His Trust: The Faithful Devotion and Self-Sacrifice of an Old Negro Servant (1911) User Reviews

"When war has winged its wide desolation"

[Steffi_P · 5/10 · 17 June 2008]

His Trust is not particularly remarkable as Griffith Civil War shorts go, except for one aspect. Along with its sequel His Trust Fulfilled, it features the only heroic black character in all his films. That's not to let Griffith off the hook for the appalling racism of Birth of a Nation – this is still a rather patronising portrayal, not to mention the ridiculous use of white actors in blackface. However it is further proof that Griffith was not an out-and-out racist, and it even hints tentatively at miscegenation.

Throughout Griffith's dozen or so Civil War shorts he made while at Biograph you can see the battle scenes evolving. In the one here, the emphasis is more upon chaos than heroism. It's an important development, although Griffith never quite mastered the depiction of war as tragedy – he could never get away from trying to make action sequences exciting. Still, there is some good staging here, with Griffith foregrounding individual soldiers being shot against the backdrop of gun smoke, making the casualties stand out and appear real.

The battle sequence is brief however, and you can see what Griffith is really trying to develop here is the emotional angle. Unfortunately, while the family scenes are given prominence, they are not done especially well. The scene of the soldiers going off to war is actually a step backwards from the very similar one in his previous civil war film In the Border States. The shot composition is rather messy, and you barely notice Claire McDowell slipping indoors, distraught. Another weakness is that Griffith fails to visually introduce Wilfred Lucas' character. The significance of the "old Negro servant" is mentioned in the opening title, but in his first scene he is shoved to the side of the frame, and the all important moment where the trust is given takes place half on and half off screen.

The standout moment in His Trust is towards the end, where the mother and daughter watch their home burn to the ground. It's said that Griffith invented the face in cinema. Well, he probably also invented the back. As in The Unchanging Sea, this is a good example of how he faces actors away from the camera to convey sadness with the subtlety of their body language. There's also a great bit of emotional punctuation as the house finally comes crashing down. However, this well-staged moment is not enough to save what is overall a rather dull picture.

"When war winged its wide desolation"

[ackstasis · 6/10 · 18 November 2008]

'His Trust (1911)' was always going to prove difficult for modern audiences, particularly with D.W. Griffith's reputation. Events can take on entirely different connotations when the viewer is consciously watching out for hints of racial prejudice. For example, when a white servant rescues the family of his employer, it's viewed as noble devotion to his fellow man; yet when a black man does it (or, more accurately, a white man in black-face), many simply consider it racist propaganda, or showing support for slavery. I think that this is a grossly superficial stance. Setting aside the rather ridiculous spectacle of white men performing in black-face, I thought that Griffith portrayed George (played by Wilfred Lucas), the trusted African-American servant of a Confederate soldier (Dell Henderson), with sympathy and humility. There's obviously a common bond between George and Col. Frazier, a mutual trust that overcomes racial boundaries. George does not rescue Frazier's daughter and memorial sword because he's a blindly-devoted slave, but because he's a human being, and that's what any decent human being would do.

'His Trust' was one of several Civil War shorts that Griffith directed, and it was shortly thereafter followed by a sequel, 'His Trust Fulfilled (1911),' which I haven't yet seen. 'In the Border States (1910)' is easily the better effort, mostly because it humanised both sides of the conflict, whereas here the despicable Yankees arrive only to loot a fallen soldier's home and burn it to the ground. Nevertheless, Griffit manages to build up a fair amount of pathos, particularly as Col. Frazier's wife (Claire McDowell), daughter by her side, turns to face the smouldering shell of her house, as its charred foundations tumble to the ground. An early Civil War battle scene emphasises the chaos of warfare, with smoke and gunfire battering the screen at random intervals, and Griffith underplays the deaths of soldiers left, right and centre, as though acknowledging the turmoil of combat. This isn't one of the director's finest hours, but it's a worthy enough Civil War tale, and, if you leave your racial preconceptions at the door, there's plenty to appreciate.

Of Film Historcal Importance

[aimless-46 · 9 April 2006]

"His Trust" was the fourth of Griffith's seven Civil War Shorts. Actually there were only six, "His Trust" was the only two-reeler and against Griffith's wishes Biograph released it serially, calling the second reel "His Trust Fulfilled". It lacks the charm of the remaining five shorts and is painfully cornball in comparison to most of Griffith's Biograph work.

Wilfred Lucus (in blackface) plays George, a faithful Negro servant entrusted by his owner with the welfare of his wife and young daughter when he goes off to fight for the South. Predictibly the owner dies in a nicely staged battle sequence, union soldiers burn the mansion in a poorly staged arson sequence, and George rescues the daughter and his master's sword. The daughter grows up in George's cabin. In the second reel George pays for her education at a seminary, and resists the temptation to steal when his money runs out. She eventually marries her "cousin" (seriously) and George gets to keep the sword.

Although a rather weak story, "His Trust" is significant for several reasons. It's subject, a southern family reduced to poverty by the war mirrors Griffith's own situation. Griffith's father served in Kentucky's "Orphan Brigade" during the Civil War and the family never really recovered from the financial setbacks that resulted.

It's hero, a "good Negro", is portrayed affectionately-if somewhat patronizingly; a precursor of what was to come in "Birth of a Nation".

Finally, "His Trust" was Griffith's first foray outside the world of single reel shorts. Griffith was pressing Biograph for funding to do longer films. Other studios had already released the five reel "Life of Moses", a four reel "Les Miserables", and a three reel version of "Uncle Tom's Cabin". Biograph's resistance to the concept of longer films would eventually be a factor in Griffith's split with his original studio, a production house that owed its #1 reputation to Griffith's vision and innovation.

Even in 1910 Griffith seemingly had grasped the change that was taking place as feature length films would not be released serially but would play as extended showings in legitimate theaters.

Then again, what do I know? I'm only a child.

His Master's Voice

[wes-connors · 2/10 · 19 August 2007]

Subtitled "The faithful devotion and self-sacrifice of an old Negro servant", this early film portends the director D.W. Griffith's future "Birth of a Nation". When the Civil War breaks out, Confederate Del Henderson goes into battle, leaving his wife (Claire McDowell) and daughter in the hands of their beloved slaves. Patriarch of the household slaves is George (Wilfred Lucas); among other things, he plays "horsey" with the child by letting her ride on his back. When Yankees try to burn down the Master's house, George must spring into action. However intentioned, "His Trust" is a racist film. The loyal slaves are played by white actors in "black-face" makeup, and they look ridiculous. Didn't Griffith know any real "People of Color"; or, he didn't think they could act? Weren't there any darker skinned people in the USA who could play these roles?

** His Trust (1/16/11) D.W. Griffith ~ Wilfred Lucas, Claire McDowell, Dell Henderson

Definitive proof that D. W. Griffith hated Black people!

[planktonrules · 3/10 · 12 August 2006]

This short film combined with his epic BIRTH OF A NATION is definitive proof that D. W. Griffith had both contempt for Black people and believed strongly in the myth that the "Old South" was paradise for the slaves! The film begins with the Master going off to war and all the slaves crying and wishing him luck (in real life, they probably would have cheered--hoping he'd get his head blown off!). But, as luck would have it, the man soon is pushing up the daisies (that's DEAD to all you who don't understand American slang). His sword is the only thing that returns home. A bit later, the house with the sword catches fire and a devoted slave not only saves the little White girl, but returns to rescue the sword! Then, at then end, he houses the girl and her mom in his shack (a mansion compared to most real slave quarters) and sleeps outside like some sort of devoted dog. Oh, and did I mention that all the Black actors were really White folks in dark makeup?! While I must admit that Griffith made some great films and was very, very important to the early film industry, there must be a lot of people who would love to know he's burning in Hell for his depiction of Black Americans!! This film is important historically and probably should be seen by teens to know just how far we have come.

George, The Faithful Servant

[ccthemovieman-1 · 7/10 · 2 May 2008]

In this story, Negro servant "George" is asked to look after his master's wife and child when he ("Colonel Frazier") goes off to war. Soon, the master is killed in the Civil War. It's bad enough the man died, but then the heartless Yankees came and looted the house and burned it down. George goes into the fire and retrieves the small child and the Frazier's sword - a sentimental piece offered to his wife after her husband's death. George, the woman and child - all homeless - then find a shack and poor George has to sleep outside. End of story.

Wilfred Lucas played "George;" Dell Henderson, "Col. Frazier" and Claire McDonald played Frazier's wife. She had a very square face that reminded me a bit of Demi Moore. For a film made in 1911, I thought the battle scenes were pretty good and were probably considered "big production" at that time.

I know the obvious flaw of having all white actors play the black people will turn off a lot of viewers but that's the way it was for the first three decades or so in film-making, and you just accept it as a "product of its time." Otherwise, this was a decent little drama for when it was made and that ending, with George curling up on the front steps to sleep, was very powerful, I thought.

Very Good Short Film by D.W. Griffith

[cgw-3 · 8/10 · 4 February 2004]

D.W. Griffith's 1911 film "His Trust" is about colored servant George who takes care of the wife and child after the husband died in battle. Good films. Better than average on most levels, although the black face makeup remained the prime focus of the civil war film. Followed by sequel released a week after this film during its initial run in theaters.

Some Good Technical Aspects, But the Story & Characters Are Less Convincing

[Snow Leopard · 28 December 2004]

This D.W. Griffith short feature, the first of a two-film series, has some good technical aspects, but the story and characters are a bit too labored and contrived to be fully convincing. The content is a combination of two themes that Griffith seems to have considered important, namely, the society of the Pre-War South, and the concept of someone fulfilling a trust despite all obstacles.

Although the story becomes too exaggerated to work very well, it does start out with a worthwhile idea, with a father heading off to fight in the War, and entrusting the safety of his wife and daughter to a valued servant. It's the kind of experience that immediately evokes sympathy even from those who have not faced it.

Further, the large-scale scenes, such as the parade and the battle, are done quite well, especially considering the limitations of the era. One problem, though, comes into play with the portrayal of the slaves. There is no doubt that they were intended as sympathetic characters, but they also reflect Griffith's own idealized views, and as a result the portrayals are not convincing.

The story, which continues in "His Trust Fulfilled", has a handful of compelling moments, but it just never feels as if it has reached its potential.

Griffith and the Civil War

[Michael_Elliott · 25 January 2009]

His Trust (1911)

**** (out of 4)

A Union soldier goes to fight in the Civil War and asks his black servant George (Wilfred Lucas) to take care of his wife and children. After the soldier dies the servant must do everything he can to keep the family strong. I think this here is one of Griffith's strongest shorts and I'd add that I also think this film shows black in the most positive way of any early film I've seen. The debate on the blacks being in blackface could go on and on but Griffith worked from his own group actors. I think the film is incredibly strong story and action wise. The battle sequences aren't the biggest that the director handled in his career but they are still full of excitement and wonder. I think their greatest aspect is how realistic they are. The story itself is a quite touching one as the servant must do whatever he can to protect the family since he gave his word to do so. Loyalty and love are subjects Griffith would tackle many times but the special detail here really makes this movie stick out among the five-hundred plus that he made.