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The Judge’s Story
(1911) United States of America
B&W : One reel
Directed by (unknown)
Cast: Marie Eline [the little black boy], John I. Booker [the accused black man]
Thanhouser Company production; distributed by Motion Picture Distributing & Sales Company. / Released 4 August 1911. / Standard 35mm spherical 1.33:1 format.
Drama.
Synopsis: [?] [From The Moving Picture World]? A poor friendless negro stood at the bar of justice, on trial for his life. The evidence was purely circumstantial, but even the lawyer assigned to defend him was skeptical as to his innocence, and indifferent as to the result. The prisoner told a straight story, but others swore that the victim had identified him, in a manner, before he died. The trial proceeded speedily, and the outcome looked black for the prisoner. The aged judge on the bench, who had listened to stories of sordid crimes for years, heaved a sigh of relief when the lawyers concluded their arguments, and started in to sum up. His charge was brief, for there was little he felt called upon to say. Just as the jurors were preparing to file out, there was an interruption. A feeble old colored woman forced her way through the crowd, and falling on her knees before the judge’s bench, implored “Massa Jack” to save her boy. The judge looked down and recognized her. He showed strong emotion, called the wondering jurors back to their seats, and told them that before they started in to consider their verdict, he wanted to tell them a story of fifty years ago. At that time a young Confederate officer, while in camp, received word that his mother was fatally ill. He secured leave of absence and started for his old home. It was a trip full of difficulties, because the Union troops were all around that neighborhood, but he managed it somehow, and was in time to receive his mother’s dying blessing. On his trip back the officer was unlucky enough to be seen by the enemy, and was wounded, but managed to elude them. Finally he took refuge in a negro cabin, where a colored woman too him in, cared for him, hid him, and when searchers came denied that he was there. Her six-year-old boy also did what he could to help the wounded soldier, finally securing him a horse, on which the officer rode away. As the soldier started off, a Union trooper appeared and called upon him to surrender. But the Confederate, noting that the other was unmounted, put spur to his horse and galloped away. The Union soldier seeing his enemy escaping, knelt and took careful aim at him, but just as he was about to fire, the little negro boy jumped forward, grasped his musket, and struggled to take it from him. There was a shot, and the boy fell wounded. The Confederate would have gone back to his assistance. But other mounted foes appeared, and he saw it would be useless, so he made his escape. After the war the Confederate tried to find the child to reward him, but utterly failed. “I was the officer,” the judge concluded. “The prisoner at the bar was the child who saved my life. Some persons have come forward here to testify to his good character. He says he is innocent of this crime, and I believe him. For a child who would risk his life to save another, could hardly develop into a cowardly assassin.” The jurors agreed with the judge, and when the real slayer was captured later they were glad that they had done so. And the judge saw that the man who had saved his life spent the rest of his days in the happiness and comforts that were surely his due.
Reviews: [The Moving Picture World, 5 August 1912, page ?] Whenever a film maker skillfully seizes and elaborates certain possibilities peculiar to the moving picture, as distinguished from the conventional stage, he is entitled to special credit. The story within a story is peculiarly within the province of the moving picture, and the makers of this film have shown themselves well capable of grasping and using this singular advantage. A negro, so the story runs, is unjustly accused of a capital crime and is put on trial. In the course of the proceedings, the old mother of the alleged culprit in the courtroom recognizes the judge as a Confederate veteran, whose life was saved in years gone by through the courage of the accused. The judge, who had through the years vainly sought to discover and reward his benefactors, recognizes the Mammy and makes a remarkable plea to the jury for the acquittal of the accused. In the course of his charge to the jurors he tells the story of his adventures in the war, which shows the negro and his mother to be made of heroic stuff. He concludes his remarks with the words, “The evidence is wholly circumstantial; may God help you to find a verdict of not guilty.” The charm of the story lies in the quick change from drama to dramatic narrative and the display of a fine ability to sustain the character of both equally well. After the Old Mammy has made her plea to the judge, we see the pictures showing the adventures of the latter when he was a young soldier fighting for the Stars and Bars. It is a most exciting narrative, well illustrating the aptitude of the moving picture for the telling in graphic and lively manner a story of pure adventure. The outdoor settings are particularly fine, and the acting of the young soldier much above the average. The scenes in the home of the soldier were affectingly natural and touching. A warm word of commendation must be said for the jury. The director’s work on this score can scarcely be praised too highly. It was a typical jury with just enough of a Southern touch in its make-up to give it the proper local color. It is a pleasure in connection with this review to refer to the marked improvement in all the productions of this maker, who promises to give the industry many valuable contributions in the future.
Survival status: (unknown)
Current rights holder: Public domain [USA].
Keywords: African-Americans - Law: Judges
Listing updated: 21 October 2022.
References: Null-Black p. 9 : Website-IMDb.
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