User Reviews

Walter Miller and Mary Pickford in a Griffith picture for Biograph. He's sweet on her, but never seems to get a chance to talk to her (hence, the title) - until, that is, they both end up visiting friends at the same house and burglars Harry Carey and Elmer Booth threaten her safety. Nothing new or groundbreaking from the director, but nicely shot and edited, and good natural performances from the leads.

Walter Miller loves Mary Pickford, but he is very shy and doesn't dare to speak up, so she prefers Bobby Harron. All perfectly natural. But one morning when Walter is nursing a hangover, Elmer Booth and Harry Carey break into her apartment and threaten her, until Walter rushes in to her rescue.

What a cast! Yet, it's a standard work by Griffith, so why do I rate this a superior work? Because of Griffith constant and fluid editorial work. There doesn't seem to be more than five seconds to any shot, and there's a lot of cutting to indicate simultaneity of action. The whole plot is reduced to a brief prequel, setting up the situation and then boom! you're in the action. It's a bravura exposition of editing and worthwhile simply on those terms.

On the face of it, this is just a simple story of unrequited love as young "Howard" (Walter Miller) worships a young woman (Mary Pickford) from afar - never quite plucking up the courage to speak to her. Then serendipity takes a hand: he rescues her from a couple of unscrupulous burglars. What makes this a little more remarkable is the creative way in which both DW Griffith and GW Bitzer have created a short story that flows effortlessly. It has a pace and style that makes it a very easy watch. Sadly, the story itself is maybe just a little too basic - it could have done with a few more scenes of substance for all to show off their skills a bit more, but it's still an interesting and charming twenty minutes of cinema.

Do appreciate silents and also old short films. Some of the best came from DW Griffith in the 1910s. He was not one of my favourite directors, but his short and feature films are really well worth seeing (the best musts) and he was an interesting director with revolutionary visual techniques. Another reason for seeing 'So Near Yet So Far' is also young Mary Pickford (a Griffith regular and for good reason), near the end of her biograph career.

'So Near Yet So Far' is not one of Griffith's best, both when it comes to his short films and his overall filmpgraphy, or a ground-breaking work of his. It is though on its own immensely charming and hard to resist. 'So Near Yet So Far' is also vintage Pickford, if you are somebody who likes Pickford (to me she did a lot of great work) you will be in heaven, and it is very recognisable as a Griffith film thematically and in content (not to mention technically).

Admittedly, the story is very simple, very slight and not really all that special. Griffith did similar stories in his short films and this is not much different from those.

However, a lot is great. It's very lovingly shot and doesn't look primitive, the outdoor scenery is some of the most beautiful of all of Griffith's short films perhaps. Griffith directs expertly and as said his style is recognisable visually and thematically.

None of the 17 minute length feels dull and throughout it was hard for me not to feel charmed and touched. It's lovely to watch and really cheers you up when needed, something that has been necessary frequently with me being myself autistic, disabled and with severe anxiety. 'So Near Yet So Far's' 17 minutes made me forget all of that by its immense charm.

The acting is very good, with top honours going to Pickford. Who is endearing and epitomises charm, playing a character that is so easy to empathise with.

Overall, lovely. 8/10.