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This may be the earliest American feature film that can be shown today without embarrassment; the technique is primitive, but it still holds your interest. Coincidence plays a huge role in the plot, but there's a genuine sense of danger, and the hypocrisy of the villain is a nice touch that should appeal to modern viewers. The camera doesn't move (the camera rarely did in 1913), but brisk editing helps keep the film lively, and Tucker directs with imagination. If you have any interest at all in silent movies, this one is worth a look.

The adage "sex sells" holds true today as it did in 1913 in Universal Film Manufacturing Company's distributed movie, November's "Traffic In Souls." The company's member studios had spent $7,000 on making the 88-minute movie and it earned $450,000, the top box office hit that year. This was United States cinema's first movie dealing with sexuality.

"Traffic In Souls" is about the illicit prostitution rings prevalent during the early 1910's, run by crime syndicates operating in the white slave trade. These organizations concentrated on young immigrant women or those found in poor living conditions, which "Traffic" addresses. The film shows a lot of money being passed around by the criminals but avoids the explicit scenes suggested by the subject matter.

The National Board of Review, which highlighted newly-released movies of importance, had given a stamp of approval by claiming the film had cast a light on a national disgrace. Its board members had expressed the hope "Trade" would enact reforms on the illegality of prostitution. Several years later, when the Hays Code was established, the topic of "white slavery" was banned.

Universal Pictures in retrospect has called "Traffic In Souls" the company's most important film it has ever produced. At the time, The Universal Film Manufacturing Company consisted of several movie studios, including Carl Laemmle's Independent Moving Pictures Company. "Traffic" generated so much money for Laemmle that it allowed him to start gobbling up the other member studios one by one to create the Universal Pictures we know today.

A huge controversy in its day due to its salacious subject matter, Traffic in Souls is a creaky yet fascinating forefather of movie exploitation. One of the earliest feature-length Hollywood films ever made, director George Loane Tucker filmed his project away from the prying eyes of the producers with the knowledge that he would be shut down immediately in they caught a whiff of what he was actually up to. Tackling the unspeakable subject of white slavery, the film is of course incredibly tame by today's standards, but it's no surprise that it went on to become a box-office smash thanks to the inevitable media outcry.

The story follows a variety of characters who are introduced individually with title cards akin to reading a programme at the theatre. The main players include police officer Burke (Matt Moore), the archetypal humble hero engaged to the beautiful Mary Barton (Jane Gail); high society-type and head of the Citizen's League Willaim Trubus (William Welsh); and Mary's sister Lorna (Ethel Grandin), who is hustled by pimp Bill Bradshaw (William Cavanaugh) into joining his brothel. Trubus is at the head of the prostitute ring, and along with his go-between (Howard Crampton), a small gang of heavies and thugs, and a nifty, stolen invention that works like an early wire-tap, makes a fortune in kidnapping and selling women for sex.

Although the subject matter is controversial, the action depicted on screen is certainly not. The film spends a long time showing us the inner workings of the prostitute ring, from the bottom to the very top, which gives the film a clinical, procedural feel, although it keeps its characters at a distance. There are no scenes that even suggest what these women are exposed to, so we get to witness them crying in an empty room a lot. But this is captivating stuff at times, not only tapping into its audience's desire to see something forbidden, but helping define cinematic narrative as a whole. Some flashy techniques, such as stop-motion and camera glides, prove that people were developing these styles long before D.W. Griffith. It's certainly primitive, but demonstrates a remarkable maturity for its age, with even the actors dumping the wide-eyed overacting so popular in silent cinema for something all the more subtle.

Traffic in Souls (1913)

** (out of 4)

White slavery was a big issue especially in big cities like New York City where immigrants were coming and often found themselves employed as prostitutes or even worse they were kidnapped into the business. The story is pretty simple as a pair of sisters are torn apart when one is forced into prostitution by an evil ring of men who often just take women as they step off the boats to America. The woman's boyfriend and sister begin a search for her, which leads to the crackdown on the illegal activities. In 1913 this was a pretty controversial movie but it was also the first feature that Universal would release and needless to say it would end up making a killing at the box office. Today the film is sold as being the first exploitation movie but I think that's an unfair label because in 1913 this was meant to be a serious film tackling a serious topic. Those coming to it expecting some sort of sleaze are probably going to be disappointed because what we've basically got is a "message" film not too much unlike the countless films made by D.W. Griffith from 1910-13. The only real difference is that the subject matter here is certainly a tad bit darker than the happy-go-lucky films of Griffith. With that said, overall I think this film is quite boring and in all honesty not much of anything happens throughout the running time. I think the best moments in the movie are some of the action pieces with the highlight being a sequence at the half-way mark where the good cop gets suspicious and enters the "Swedish Employment" building and soon has the fight the pimps and try to save the women. Another good sequence happens as a couple Swedish sisters step off a boat and we're treated to a scene where a cop fixes the arrest of their brother so that they can be kidnapped. The rest of the film contains pretty much slow moving action that really just stales out the running time. At 84-minutes this here was one of the longest running movies from this era but I think a good ten or fifteen-minutes of edited footage probably would have helped the film move a lot better. The performances leave a lot to be desired and there's really no drama to speak of. I think the majority of people going into this thing are going to be disappointed so in the end it's basically just for those film buffs who might be interested in this era or sub-genre. TRAFFIC IN SOULS isn't a masterpiece and it's not even a good film but it deserves its place in history but like so many of these movies the final result isn't all that impressive.

This movie which relies on the sensational, is not very sensational. The film treats of the white slave trade with immigrant girls to this country as likely candidates for kidnapping. The interior scenes are stultifying (with cheap painted backdrops and hideous wallpaper). There is no camera movement. This static approach to efforts to wipe out the slave trade does not work. Coincidence piles upon coincidence to the point of absurdity. There are too many characters and sub-plots. The only time the film has an opportunity to breathe is during the exterior scenes, such as at the docks or on the rooftop. The film stands, however, as a good introduction to what film used to be before creative elements jelled in the industry.

The movie that put little Universal Studios on the movie-making map thanks to its lurid storyline of nice girls who work in sweet shops being abducted off the streets and forced into prostitution. Director George Loane Tucker keeps it moving at a cracking pace, and shows some sophistication in the editing of its opening stages as various girls fall into the hands of the unscrupulous white traders. The plot wanders off into the realms of fantasy at times, and the writing is lazy - the father of an abducted girl just happens to have invented a listening device that is key to foiling the villains, for example. But, despite being trashy and exploitative, Traffic in Souls is a fun watch that holds an important place in film history.

The head of a common New York family, Jane Gail (as Mary Barton), works with her younger sister Ethel Grandin (as Loma Barton) at "Smyrner's Candy Store". After Ms. Grandin is abducted by dealers in the buying and selling of women as prostituted slaves, Ms. Gail and her policeman boyfriend Matt Moore (as Larry Burke) must rescue the virtue-threatened young woman.

"Traffic in Souls" has a reputation that is difficult to support - it isn't remarkably well done, and it doesn't show anything very unique in having a young woman's "virtue" threatened by sex traders. Perhaps, it can be supported as a film which dealt with the topic in a greater than customary length (claimed to have been ten reels, originally). The New York City location scenes are the main attraction, after all these years. The panning of the prisoners behind bars is memorable, because nothing else seems able to make the picture move.

**** Traffic in Souls (11/24/13) George Loane Tucker ~ Jane Gail, Matt Moore, Ethel Grandin

One of the most notorious melodramas of it's time, director George Loane Tucker's Traffic in Souls seemed to confirm everyone's worst fears about "white slavery". Social reformers leaped into action, while audiences quickly rushed to the theaters to see it. A tremendous box-office success, the film is credited with starting a trend of increasingly sexy films, or at least films that promised sex, since they discovered sex sells. This controversial film which was banned in many cities throughout America, nevertheless grossed half a million dollars.

It is both a pseudo-documentary that reveals how "50,000 Girls disappear yearly" into "white slavery," a criminal organization abducts poor and immigrant women, forcing them into prostitution. The chief crook is a seemingly respectable businessman (William Welsh) who handles the money while his underlings do the dirty work. When a young woman (Ethel Grandin) is drugged and kidnapped, her sister (Jane Gail) teams up with her policeman boyfriend (Matt Moore) to rescue her.

Today, Traffic in Souls has at least two claims to fame. First, its sensational subject matter linked it and number of other more or less contemporaneous films with a moral panic that eventually resulted in the inclusion of the "white slave trade" (the entrapment of young women into prostitution) in the list of topics explicitly barred under the Hays Office's Production Code. Second, and more important for this study, it is a relatively early American-produced feature-length film, apparently, in fact, the first released on Broadway not based on a famous novel or play. It is also the first film of more than three reels produced by the Independent Motion Picture Company, whose president Carl Laemmle was at this time, and for some time to come, publicly committed against the feature film.

Though contrived, it still holds-up to modern scrutiny of what we might think a good film should be like, and its nevertheless a milestone in film-making. It paved the way for the kind of action films Hollywood would soon become noted for making. And to comment on Tucker's great talent, in a period when most films were still overly theatrical, Tucker displays a relatively naturalistic, low-key style. For the most part, the actors behave like real people instead of mugging for the camera, and the expert cross-cutting shows that D.W. Griffith wasn't the only director in Hollywood who could edit with vigor. Though most of his work completely forgotten or lost today, with the work of Traffic in Souls, The Prisoner of Zenda, and the highly acclaimed lost film The Miracle Man, Tucker should easily be credited as one of the finest pioneers of film making.

TRAFFIC IN SOULS (1913) is one of the first feature films to really define what feature films would become aesthetically. It depicts the story of several women who are lured into a house of ill repute, as well as the unmasking of a powerful figure who pulls the strings who is not all that he seems…

SCRIPT: The script of TRAFFIC IN SOULS juggles multiple narrative threads at a time when most movies were short features that only told one story. It handles the separate yet related stories quite successfully. One flaw I did notice is that the brothel doesn't have any clients – but there may have been some reason for doing so, so as not to offend the sensibilities of 1913 audiences. In any case, the story is fairly realistic and must have been shocking for its day. There are nice little details, too – like the police officer and the girl asking the window cleaner to look away while they kiss briefly, the shopgirl who gets fired and sticks her tongue out at her boss, among other things. A bit melodramatic at times, and with a little padding, but not too much. The story is told with brisk efficiency and the film moves along at a nice pace. It is actually quite suspenseful as well. There's an intriguing technological element as well, with a kind of telegraph pen that writes remotely and a phonograph that records conversations. SCORE: 8/10.

ACTING: The acting here is exceptionally naturalistic, at a time when many "feature" films were little more than stage plays with overly emphatic acting. Particular standouts are Jane Gail as Mary Barton, William Welsh as the "philanthropist" Trubus, as Ethel Grandin as Lorna Barton. There's very little hamming it up in this film, and the realistic, restrained performances help to give a documentary feel to the proceedings. SCORE: 9/10

CINEMATOGRAPHY/PRODUCTION: TRAFFIC IN SOULS shows a quite advanced sense of editing for its day, although some of it is a bit choppy (which was confirmed by a contemporary review). There is not a lot of camera movement in the movie, but the briskly paced editing keeps the movie from being too static (again, unlike other features of the time). We are treated to some unusual camera angles and tracking shots at various points of the film. There aren't really any tight close-ups, and this keeps the movie feeling a bit remote over the course of its run time. By far the most remarkable feature of TRAFFIC IN SOULS is its liberal use of outdoor location shooting, which gives it a remarkable realism that is still striking today. Although other features a few years later (including one I don't want to name) would use more advanced features like iris shots and tinting, TRAFFIC IN SOULS is still pretty advanced for its time. SCORE: 9/10

SUMMARY: TRAFFIC IN SOULS deserves more recognition as being a movie that helped set the standard for feature films, even before BIRTH OF A NATION. Its story is quite complex, but fast paced and engrossing. The acting is refreshingly and remarkably naturalistic. Its cinematography and editing are well executed, helping to pave the way for feature films to break away from the stage and come into their own as an art form in their own right. SCORE: 9/10

Traffic in Souls is a groundbreaking silent film that delves into the dark world of human trafficking. This socially conscious drama explores the exploitation of young women, highlighting the harsh realities of the era. With its compelling narrative and strong performances, the film sheds light on the moral dilemmas faced by the victims and the efforts made to combat this heinous crime. While the cinematography and storytelling techniques may appear dated by today's standards, Traffic in Souls remains an important cinematic milestone, raising awareness about a grave issue and serving as a catalyst for future films addressing social injustices.

PERILS OF THE NEW LAND is a remarkable double feature from the early days of cinema that represents America's two oldest surviving movie companies, Paramount and Universal (both founded 1912). The Universal offering, TRAFFIC IN SOULS was once available on VHS. The version here is essentially the same just buffed up a little for its DVD presentation. This 1913 film about prostitution rings using newly arrived immigrant women was a hot topic then and it still plays well today thanks to understated performances and a DRAGNET like documentary approach. The extensive NYC locales complete this celluloid time capsule which is complimented by Philip Carli's piano score. It's great to finally have this on DVD. Now if we can just get Thomas Ince and Reginald Barker's 1916 anti-war epic CIVILIZATION on disc then the transfer of the old FIRST AMERICAN FEATURES series would be complete.

Speaking of Ince and Barker, they are the ones responsible for the other feature on this 2 DVD set, THE ITALIAN. This 1915 Paramount release about an Italian family's efforts to survive in the New World features George Beban, an actor who specialized in "ethnic" characterizations along with Clara Williams (HELL'S HINGES). They are both quite good giving what for the time were very natural and subdued performances. The ersatz Italian scenery and costumes are quite convincing and once we get to NYC it could almost be a setting out of the Italian neorealist films of the 1940s and 50s. The ethnic style title cards may bother some people today but that's how it was back then. THE ITALIAN is greatly aided by a fine score from Rodney Sauer which helps to enhance the mood generated by this rather downbeat film. Producer Thomas Ince was no stranger to realistic, unhappy endings (DRUMMER OF THE 8TH, CIVILIZATION) making him the flipside of D. W. Griffith and more relevant for a present day audience. Hopefully more of his films will become available so that he will be remembered for something other than his mysterious death in 1924.

The set concludes with three shorts from the Thomas Edison company (1910, 1912, 1915) which are taken from 35mm source materials and look absolutely stunning. They too are accompanied by Rodney Sauer and the Mont Alto orchestra and they nicely round out the set. Once again Flicker Alley has come up with a real winner and a must have for anyone interested in the history of American film. Right now the marriage between Film Preservation Associates and Flicker Alley seems to be a match made in heaven. Here's to a long and successful partnership...For more reviews visit The Capsule Critic.

UPDATE: FPA founder David Shepard died in 2017 but the partnership between his Blackhawk Films and Flicker Alley continues with gratifying results.