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The most satisfying and pleasurable sensation experienced is "getting even," especially where one has been held up to ridicule before a jeering mob. Such was the reguerdon of Bud, the Kid ... See full summary »

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Cast

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Bud
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Miss Lucy
James Kirkwood ...
Jim Blake
Rest of cast listed alphabetically:
Florence Barker
Kate Bruce ...
Party Guest
Verner Clarges ...
Party Guest
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Miner
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Party Guest
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Miner
Anthony O'Sullivan ...
Miner
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Party Guest
Gertrude Robinson ...
Party Guest
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Miner
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Storyline

The most satisfying and pleasurable sensation experienced is "getting even," especially where one has been held up to ridicule before a jeering mob. Such was the reguerdon of Bud, the Kid of the Mining Camp, after suffering gross humiliation at the hands of the other cowboys and miners. Miss Lucy, the belle of the camp, is introduced to the Kid, and makes an impression; the Kid becomes quite seriously inclined towards her. The boys, more in the spirit of jest than chagrin, poke fun at him; call him the baby, and end with Jim Blake spanking him. Needless to say the Kid is mortified and swears to get square. A masque ball is to be held that night, so Bud plans his revenge. All tog out in grotesque costumes, a high old time is imminent, for it is fair to assume that the society folk of the camp will be well represented. Bud, however, feigns a toothache and will not go. Dressed up in carnival duds, the gang leaves the shack for the pavilion. All gone. Bud jumps from his bunk, and dresses ... Written by Moving Picture World synopsis

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Comedy | Short

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13 September 1909 (USA)  »

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1.33 : 1
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Trivia

Released as a split reel along with the drama The Children's Friend (1909). See more »

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User Reviews

The Post-Text of Griffith's Legacy
15 October 2004 | by (London, England) – See all my reviews

This six minute offering was virtually begging to be remade into a feature length during the after-life of Griffith's work. It's not a particularly entertaining piece of self-contained footage, but it does create a vocabulary for subsequent productions. It's more of a template or blueprint for how films should be made in the future rather than a presentation of entertainment. I would say that this was a skeleton whereby successive writers and directors could add the flesh and muscle to enhance the piece. These short films that the 34 year old D.W. Griffith was making in 1909 were seeds that were being scattered to generate new work rather than being the finished article.


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