This solemn little tale is often held up as one of the more remarkable Biograph westerns. While Griffith predominantly treated Native Americans sympathetically (albeit patronisingly so) The Red Man's View, as the title suggests, differs in that it tells a story solely from the Indian perspective.<br /><br />What is really interesting is how he uses physical arrangements to show this point of view and the protagonists' plight. The white men appear over the hillside as a kind of characterless swarm – an impersonal force, rather than a group of individuals. The Indians on the other hand advance slowly across the landscape in single file, dignified, each one an individual.<br /><br />This is one of Griffith's first really great outdoor pictures. The vast empty spaces allow for maximum impact as actors approach us from the distance. This use of depth had a massive influence on Charlie Chaplin – think of how many times the little tramp entered or exited a scene over a great distance, all the better to show off that unique walk. In the final scenes the wind howls across the wasteland – a great bit of atmospherics that was pioneering for its time.<br /><br />1909 was a period of incredibly speedy development in Griffith's style and competence. We go from nonsense like The Voice of The Violin and What Drink Did earlier in the year, to this simple yet stylish piece of storytelling. However, the best was yet to come with Griffith's very next picture – A Corner in Wheat.