White Sister – Programme – Tivoli Strand London 1924

Tivoli Strand London Music Hall
Tivoli Strand London – Facade
  • INSPIRATION PICTURES INC.
  • (CHARLES H. DUELL, President)
  • PRESENT LILLIAN GISH
  • IN HENRY KING’S PRODUCTION, ”THE WHITE SISTER”
  • Based on the Story by MARION CRAWFORD.
White Sister – Programme – Tivoli Strand London 1924 Cast

THE TIVOLI NEWS.

TIVOLI, STRAND,

Monday, May 12th, 1924.

That the public appreciates a really artistic film- provided it is cleverly produced and well acted- whether it ends on a note of conventional felicity or one of tragedy, is being amply and gratifyingly demonstrated at the Tivoli. “The White Sister” has not only proved a triumph for Miss Lillian Gish as an actress, and made the reputation of Ronald Colman as an actor ; it has also proved an outstanding financial success. Indeed, during some weeks the “White Sister” takings have actually topped the redoubtable ” Scaramouche ” records by a narrow margin. 60,000 people have seen ” The White Sister” up to the time of writing ! In the circumstances it is inevitable that we should have decided to continue the run of this film for some time to come.

White Sister – Programme – Tivoli Strand London 1924 cover

LILLIAN GISH IS COMING.

In a few days time, Miss Gish will positively arrive in this country on her long-projected, and eagerly-awaited, visit. Her reception will be a remarkable one, for she is (beyond question) infinitely the most popular of the American film stars, with the people of this country. It is the best of good news that she has promised to make several personal appearances at the Tivoli.

At this writing Miss Gish is finishing the production of another big picture in Italy “Romola.” Our courier is over there, waiting for the last few scenes of this film to be completed. Immediately we hear from him that she is ready to leave for London, the fact will be  nnounced through the press.

Tivoli Strand London – Poster Crafted by Hand

A WARNING.

It is a somewhat embarrassing tribute to the position of the Tivoli as the only really first-class theatre showing films in London, that all the American entrepreneurs and stars have a habit of announcing that their forthcoming films are to be shown at this house. These announcements are sometimes premature, and should be accepted with a certain amount of caution. We cannot show more than one big film at a time, and consequently we cannot show every important, or allegedly important, picture that dawns on the horizon. We are honestly trying to pick out the very best among the big films for our patrons ; and so far your support has amply justified our judgment. We thank you very much.

White Sister – Programme – Tivoli Strand London 1924 News

MARION CRAWFORD.

The story of “The White Sister ” was taken from the novel of the same name by that American master of English prose, Francis Marion Crawford, and the picture was filmed entirely in Italy and Northern Africa. Since it is an outstanding attraction at the Tivoli, London, it is entirely appropriate that some of its incidents should have been enacted in Tivoli, Italy; and Rome, Naples, Sorrento, and Mount Vesuvius all provided backgrounds for its scenes. The eruption of Vesuvius is an essential feature of the story, and the producer, Henry King, and his camera men and artists spent three weeks in Bosca tre Cossa, a village at the foot of the volcano, waiting for the internal disturbance of the mountain, which should provide the lava and eruption they anticipated.

The Musical Setting for “THE WHITE SISTER” has been specially re-arranged for the Tivoli presentation, and under the direct supervision of JOHN REYNDERS.

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The first reviews of “The Birth of a Nation” 1915

The first reviews of “The Birth of a Nation” or “The Clansman” as it was then known ever published following its first screening to the public in Riverside, California on January 1, 1915.

Riverside Enterprise Sunday January 2 1915

“The Clansman” Receives Enthusiastic Approval

Crowded Houses Audibly Express Approbation of Spectacular and Gripping Photoplay Depicting Strong Story

The biggest thing in the way of a thrill producer that has ever been seen in Riverside, or probably anywhere, is now showing in the Loring Theater – D.W. Griffith’s “The Clansman,” a picturized version of the book and play of the same name by Thomas Dixon Jr. It would be difficult to imagine more exquisite photography than has been achieved in this production. Of marvelous beauty are the settings against which the swift action of the story is thrown. Whatever may be the attitude of the audience toward the pro-southern ideas of the play, there is no denying that it grips the attention from the start and that it works up into a tremendous climax.

Below are presented the articles in their entirety, including the original newspaper pages of that time.

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Download “The Birth of a Nation” Kino Lorber restauration – NTSC Std low bitrate

https://drive.google.com/file/d/1o5um_rE8qYhEz6pgC_Czf1bLDewRcSYn/view?usp=sharing

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“Orphans of the Storm” – Chicago Tribune (1922)

Chicago Tribune – Monday February 6, 1922 – Page 4

Have You Ever Read Anything Like This?

“Orphans of the Storm” is the greatest dramatic enactment the world has ever known since the living contests in the Roman amphitheater.” – Says Amy Leslie.

“It is Griffith’s largest achievement – a play of plaintive beauty set like a pearl with the volcanoes of the earth’s heart torn open. The refreshing youth of the Gish girls and Shildkraut come nearer the great truth of drama than celebrities of another era. Its beauty is a continual feast, and its amassment of armies, mobs and gigantic maneuvers plunge into imagination with drawn swords of conviction and verity.” Amy Leslie, News.

“It equals ‘The Birth of a Nation.’ Work of this sort causes some of us who we are, perhaps, too prone to turn up our noses at this eight art to pause and reflect. The mad gallop equals in every particular the ride of the Klansmen in the ‘Birth of a Nation,’ and, for excitement is superior to the famous ice scene of ‘Way Down East.’ The appeal the Gish girls make to the human heart is so strong that one need not blush for the tears that come to the eyes.” Paul R. Martin, Journal of Commerce.

The Cast – Orphans of The Storm Picture Show Art 1922

“The Gish girls catch at heart and imagination. They are frailly lovely to see, and their emotions awake instant response in you. Joseph Shildkraut, as the young aristocrat who sees and loves Henriette (Lillian Gish), is a fine  actor and is almost too beautiful to be true.” Mae Tinee, Tribune

“The old master of the screen does it again. There were long stretches in ‘Way Down East,’ during which I thought of everything but ‘Way Down East,’ whereas ‘Orphans of the Storm’ is thick all over with the finest fat in the theater. It is a great story, containing audacity and imagination. It never strays; is one big unbroken melodramatic curve in which the streams of D’Ennery, Caryle and Griffith are interfluent.” Ashton Stevens, Herald Examiner

“Griffith has done it again. There are scenes Watteau would have loved to paint. As long as Griffith lives to provide us with photodramas no one need fear a foreign invasion.” Virginia Dale, Journal.

“It is supremely beautiful; delicately woven as to theme; and admirably handled throughout. Griffith has been great before, but he is greater now.”

And the Herald Examiner says:

“Love-making as soft and intriguing as a night breeze across May roses.”

  • “ORPHANS OF THE STORM”
  • Shubert Great Northern Theatre
Chicago Tribune (Chicago, Illinois) 06 Feb 1922, Mon Page 4

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Pathex Motion Pictures – 1926

  • Pathex Motion Pictures – 1926
  • Pathex Motion Pictures For The Home
  • Lillian Gish in “The Children Pay”
The Children Pay – Lillian Gish

YOU buy Pathex pictures outright and you can soon accumulate a library of interesting and entertaining subjects, always at hand to enjoy whenever you like.

Laugh with Harold Lloyd, chuckle with Will Rogers and roar at the escapades of the mischievous “Our Gang” in any one of twenty pictures.

Douglas Fairbanks, Lillian Gish, Bessie Love, Charles Ray, Dorothy Gish and Frank Keenah offer you drama a-plenty, while W. S. Hart, Leo Maloney and Tom Santschi will supply thrills in Western melodramas.

Lillian Gish in “The Children Pay”

No. D 4 Three Reels $5.25

Millicent and Jean, orphans, living happily with an old nurse, Susan, are separated by rich relatives who assume care of them. Both girls are unhappy at being apart, so Millicent takes Jean away and they both steal back to Susan. With Horace Craig, who loves Millicent, as counsel, Susan asks for guardianship and is opposed by the relatives. A sympathetic judge sees in Millicent’s marriage a solution of the difficulty, and adroitly suggests it to Horace. The young lawyer wins Millicent and the happy pair are assigned as Jean’s guardians

Pathex Motion Pictures For The Home

A collection of films featuring many of America’s foremost screen artists, in addition to a great variety of other subjects—humorous, educational, travel, industrial, sporting—for use in the Pathex Motion Picture Projector.

The Children Pay – Lillian Gish

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Lillian Gish in Romola (Program)

Lillian Gish in Romola

Her every characterization is attempted with her own persuasive charm and wistful beauty … Always she reveals suffering and sacrifice, not of the flesh but of the spirit … Never has Lillian Gish failed to create a role which did not become a classic.

Lillian and Dorothy Gish

Wherever motion pictures are shown in the world over, the name GISH stands for pre-eminence. In six of the nine or ten truly great pictures thus far made, Lillian Gish created roles which will live forever. What an artiste! Never will the world forget her inspired acting. In two of these immortal classics, “Hearts of the World” and “Orphans of the Storm,” her talented sister, Dorothy Gish, shared the honors. In “Romola,” they are together again, and they are more wonderful than ever before.

There never was such a praise!

“I like ‘Romola’ better than ‘The White Sister’ (Louella O. Parsons in NY American)

“Lillian Gish’s ‘Romola’ is a beautiful portrait.” (Peter Milne in N.Y. Morning Telegraph)

“Fine Work that – work that brought a cheer from the audience.” (Mildred Spain in N.Y. Daily News)

“Amazingly wondrous to behold! … To the end, the charm of the Gishes holds one.” (Allene Talney in N.Y. World)

“Romola is a touching story … a delicate, beautifully-shaded pastoral.” (N.Y. Evening Post)

“Lillian Gish in the title role seems to step out of an artist’s canvas … while Dorothy Gish is excellent as the peasant girl.” (Rose Pelswick in N.Y. Eveining Journal)

“Lillian Gish brings to ‘Romola’ all the wistful charm and the indefinable sense of pathos which make her unique among film stars.” (Helen Bishop in N.Y. Evening Journal)

What the great of Europe say about “Romola”

Georges Clemenceau, former premier of France: “Such a work of art merits every success.”

Dr. Guido Biagi, director of the Laurentian Library Florence: “As editor of the novel ‘Romola’ I desire to express my appreciation that you came to Florence where the scenes of the book actually were laid and here reproduced them for the screen. I congratulate you upon the beauty and sumptuousness with which the production has been staged.”

Leonce Benedite, director of the Luxembourg Museum and the Rodin Museum, Paris: “It is notable for its settings, its costumes and its vibrant semblance of reality.”

Santiago Alba, former minister of Fine Arts in Spain: “It is a page of the most delicate art and appeals like few other films.”

Giovanni Poggi, director of the Uffizi Gallery, Florence: “In the film ‘Romola’, the costumes, the principals and the ensembles seem to have been studied with the greatest possible care. Bravo for the beautiful work of Inspiration Pictures.”

Firmin Gemier, director of the Odeon National Theatre, Paris: “I must tell you how marvelous I think ‘Romola’ is. Your reconstruction of the golden age of Florence gave me one of the greatest surprises of my life. It is a glorious moment from an epoch in which all true artists, all people of culture, all those who have loved and thought passionately, would like to have lived.”

P. Bonnard, one of the greatest living French painters: “It will awaken longings for the glorious past and enthuse all souls that follow ideals.”

“The scenes in ‘Romola’ are so beautiful that they in themselves are worth instant one spends viewing this picture.” Mordaunt Hall in N.Y. Times.

Romola – photo gallery

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Afra Antics – 1940 (program)

  • Afra Antics – 1940
  • PROGRAM
  • MISS LILLIAN GISH
  • (Life With Father)

Miss Lillian Gish appears through courtesy of Oscar Serlin. Mr. Elliott Nugent appears through courtesy of Herman Shumlin. Miss Roberts, Miss Parks, Miss Martin, Miss Ryan, Miss Brilhante and Mr. Guilbert, Mr Johnson, Mr. Albertson, Mr. Arkm. Mr. Boyle appear through courtesy of the Hollywood Theatre Alliance and the management of the Grand Opera House. Willie Shore appears through courtesy of the Hi-Hat Club.

Lillian Gish as Vinnie in Life With Father -- 1940
Lillian Gish as Vinnie in Life With Father — 1940

GRATEFUL ACKNOWLEDGEMENT

To the Chairmen and members of all committees, who have willingly devoted their time and labor to insure the success of our “AFRA ANTICS” of 1940.

To all AFRA members who have been generous enough to make personal appearances in an aid to publicity and whose names could not be added to those on this page due to a dead-line with the printer—In the name of AFRA—THANK YOU! If any names have been omitted, please credit it to human frailty and bear in mind that “To err is human, to forgive divine.”

PHILIP LORD, Chairman,

“AFRA ANTICS” 1940

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Metro-Goldwyn Pictures Presentation Book (Australia) 1924

Metro-Goldwyn Pictures Presentation Book (Australia) 1924

The collection of The Museum of Modern Art – Department of Film

During the coming year you will receive from Metro-Goldwyn something like One Hundred first-class productions, most of which I have seen. It is the purpose of this book to give you, by means of pictures and type, some idea of the solidity, strength and progressive policy of Metro-Goldwyn and of the infinite variety and worth of our product—the product, which has, in less than a year of active output placed Metro-Goldwyn pre-eminent in the field.

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“The Greatest Thing In Life” – Wid’s Daily (1919)

  • Wid’s Daily – Thursday, January 2, 1919
  • The Recognized Authority

Griffith Puts Over Winner in His Latest Film. It’s Human

D. W. Griffith Presents

“The Greatest Thing In Life.” – Artcraft

Producer/Director D.W. Griffith, AUTHOR Captain Victor Marrier, CAMERAMAN G W Bitzer, SCENARIO BY Captain Victor Marrier

  • AS A WHOLE.. . . ..Splendid production with strong human interest element; war scenes presented in masterly fashion.
  • STORY Has a real theme apart from war, developed with keen comprehension of feminine nature in search of “the greatest thing in life.”
  • DIRECTION Reveals the flawless technique expected of Griffith: always avoids the superfluous and makes much of seeming trifles that spell reality.
  • PHOTOGRAPHY Always superior
  • LIGHTINGS Excellent in getting beautiful modulations of light and shadow; never permit monotony.
  • CAMERA WORK Notable for the introduction of a new and artistic close-up suggestive of an impressionistic photograph. Effects gained by what may be termed “a soft focus”
  • PLAYERS Lillian Gish vivacious and charming ; Bobby Harron registers fine characterization; David Butler and others add to story.
  • EXTERIORS Delightful to look at; largely because of excellent photography.
  • INTERIORS Richly furnished when situations demand it; always look like real thing.
  • DETAIL Includes significant incidents; subtitles give natural expression to the mood of the
  • CHARACTER OF STORY Shows Germans as “the enemy”, but doesn’t harp on atrocities.
  • LENGTH OF PRODUCTION About 6,500 ft.

Griffith remains pre-eminent on account of what he doesn’t do as well as what he does. When a scene has reached the “punch” point he uses the scissors, and the audience isn’t bothered by the loose ends of dramatic action. He doesn’t work with stereotyped characters because they are convenient; he doesn’t show a German officer assaulting a woman because it has become the custom to present brutality in war films; he doesn’t use a sledge hammer to pound home his meaning and he doesn’t hesitate to tackle a delicate situation because there is danger of its not getting over.

Get “The Greatest Thing in Life” and you’ll see what I mean. You’ll see the difference between the output of a creative artist and the work of a conscientious craftsman who learns to do well something which others have done before him. There’s a big difference and it is the difference that makes this a distinctly superior production.

Griffith took a story of character good enough to have been developed irrespective of the war angle, yet so devised that it appears to have its natural outcome in the world conflict. Lillian Gish is a French girl, vivacious to the point of seeming triviality. Living with her father, who runs a shop in New York, she seeks, under a cloak of laughter, the perfect man, the ideal love, the “greatest thing in life.”

The Greatest Thing in Life (Lillian Gish and David Butler)

Bobby Harron is the incarnation of snobbery. He detests commonness in all forms, but incongruous as he feels it is, he is fascinated by the merry Lillian, who might love him if only he were more human. David Butler, a great stupid French boy, is all human, he is everything that Bobby is not, but he has no poetry in his soul. Lillian tests him with merry talk about Rostand’s “Chantecler” and the Golden Bird. But to the French youth, a chicken is only a chicken and can never be anything else.

France calls them all—father, daughter and the dissimilar suitors—the France of shell-torn villages. Characters are tested in the crucible. The French materialist dies a valiant soldier, still declaring that a chicken is only a chicken; the snob, reborn a human being in the trenches, heads the American soldiers into the French village, occupied by the Germans to save the girl and her wounded parent. This sketchy outline of the plot may suggest nothing new. It is the wealth of incident and characterization that make it throb with feeling. At first there is contagious animation in following the flirtatious Lillian through her days at the little shop. The performance of Miss Gish is a delight, while Harron supplies a striking portrayal of the snob.

There is humor here, and humor mingled with pathos when the scene moves to France. The war phases of the production, having suspense and thrills galore, are finely harmonized with the personal elements of the story. Be it noted to Griffith’s credit that he defies precedent by not showing any assaults on defenseless women.

A high spot in the picture, one that gets over superbly despite its dangerous character, brings out the transformation of the snob, when, lying in a dugout with a dying negro soldier, he listens to the pathetic appeal of the hysterical man for one kiss from his mammy. Bobby brings happiness to the negro in his last moments by impersonating the mammy and kissing him.

Lillian Gish – The Greatest Thing in Life

Be Sure to Let Folks Know What You Have. They’ll Come to See it

Box Office Analysis for the Exhibitor.

Some pictures are just artistic, some just business-getting, some are both, and I should say most decidedly that this is one of them. I don’t care what kind of a house you are running; this Griffith offering is bound to please your patrons. Don’t worry about whether or not folks are getting their fill of war films. “The Greatest Thing In Life” isn’t really a war picture; it’s a picture with a mighty interesting group of human beings who happen to get mixed up in the war. There’s a distinction here, and it’s the kind of distinction that’s going to make some productions live while others die. The name of Griffith is enough in itself to assure interest, and in addition to that you have the two Griffith celebrities, Lillian Gish and Bobby Harron, to attract the crowd that remembers “The Birth of a Nation” and “Hearts of the World,” not to mention numerous other pictures.

All that you need to do is to advertise in a big way and figure to hold the film long enough to profit by the word-of-mouth boosting which it is sure to receive. If you spend a little money with your newspapers, it ought not to be difficult to get picture layouts along with more than the usual amount of reading notices dealing with the career of Griffith and the stars he has developed. No doubt you will be supplied with plenty of effective lobby material of an artistic nature suitable to the character of the production. By all means get this if you can and don’t worry about the return on your investment.

Paramount and Artcraft Press Books (Dec 1918) Greatest Thing in Life advertising – posters

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