“Over There” with the Nobility and an All Star Cast (“The Great Love”) – By Mae Tinee – Chicago Tribune – 1918

Great Love Poster 3 a

Chicago Tribune – Sunday 11 August 1918 Page 46

“Over There” with the Nobility and an All Star Cast

“The Great Love”

  • Produced by D.W. Griffith
  • Directed by D.W. Griffith
  • Presented at the Orchestra Hall

The Cast:

  • Jim Young of Youngstown …..…..….. Robert Harron
  • Sir Roger Brighton ……………..…. Henry B. Walthall
  • Jessie Lovewell ………………..……………. Gloria Hope
  • Susie Broadplains ………………….………. Lillian Gish
  • John Broadplains …………………… Maxfield Stanley
  • The Rev. Josephus Broadplains ..… George Fawcett
  • Mlle. Corintee ……………..…………. Rosemary Theby
  • Mr. Seymour of Brasil, formerly of Berlin …

… George Seigmann

By Mae Tinee

“The Great Love” is more absorbing than the average super-feature for three reasons. Because of its intimate and authentic relation to the great war. Because of the titled English folk who make their debut into motion picture during its seven reels. Because D.W. Griffith produced it. It abounds in the “touches” which have made this producer famous and is a thing of beauty as to its setting and scenery. The truth of the matter is, however, that Mr. Griffith has made many better pictures.

Great Love Poster 2 a

The cast of “The Great Love” is practically the same as that enacting “Hearts of the World.” It has the addition of Henry Walthall, who more heavily lined and world weary than when he left the Griffith fold, is back again doing excellent work, although cast as the leading villain in the piece.

DW Griffith shooting a scene from The Great Love 1918
DW Griffith shooting a scene from The Great Love 1918

The English society folk appearing, whose names Mr. Griffith rolls like sweet morsels under his tongue, include Princess Alexandra, the Princess of Monaco, the Countess of Masserene, Lady John Lavery, the Countess of Droghda, Lady Diana Manners, Miss Elizabeth Asquith, the Hon. Mrs. Montagu, Miss Bettina Stuart-Wortley, and Miss Violet Keppel. The ladies are shown at a charity bazaar, in hospital and munition work.

The Great Love, Lillian Gish and Henry Walthall
The Great Love, Lillian Gish and Henry Walthall

And now the story:

Jim Young of Youngstown, Pa., white-hot over the German atrocities in Belgium, enlists in the British army. In the army camp on the outskirts of London he receives his training. He is sauntering through a suburb while on leave of absence when he meets a young person called Susie Broadplains, daughter of a curate. Susie is a silly little thing whose aspiration to become a great coquette is much hampered by the difficulties she has in managing her hands and feet. Though badly dressed and combed, Susie realizes to some extent the softening effects of tulle, and when in doubt ties herself up in it and feels that the world is hers. She and the young American – himself just a gawky boy – become deeply interested in one another. There is almost an engagement between them when he is sent to the front.

Lillian Gish - The Great Love (1918)
Lillian Gish – The Great Love (1918)

If Susie’s aunt hadn’t died and left her 20.000 Pounds, when Jim Young of Youngstown Pr., returned he would have found conditions unchanged, I suppose. But a little lump of money like that is bound to cause a splash. So Susie is marceled and courted by others than himself when the soldier returns. Chief among her suitors is an unscrupulous fortune hunter, a Sir Roger Brighton, who is much involved with a bunch of radicals, who wear the camouflage of pacifism only to conceal their machinations in behalf of the German government.

And now we come upon plots and counterplots, scenes of battle and airship raids, with the story of Susie and her suitors threading through it all. The production is weak as to plot, but you don’t in at the least mind this, for the reasons I quoted in the first paragraph. If you have liked Lillian Gish before you will care for her more than ever as little Susie Broadplains. I, myself, whom she has always given the fidgets, thought her work splendid. I want you to specially notice two of the close-ups of her. In them she is exquisite.

The Great Love 1918 - Original Film Poster
The Great Love 1918 – Original Film Poster

Such players as Robert Harron, George Fawcett and George Seigmann need no commendation, but one likes to hand it to them just the same. They are splendid. Gloria Hope as the wronged sweetheart of Sir Roger and Rosemary Theby as a German agent were excellent.

Now when I saw the picture, the censors were making considerable fuss about several scenes and one subtitle. Uncalled for fuss! There was nothing in the production the morning I saw it from start to finish that the average clean minded citizen should object to.

Great Love Poster 1 a

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Lillian Gish Plays Hawthorne Heroine – By Mae Tinee (Chicago Tribune – 1927)

Chicago Tribune – Sunday, March 20, 1927 – Page 43

Lillian Gish Plays Hawthorne Heroine

“The Scarlet Letter”

Produced by Metro-Goldwyn-Mayer. Directed by Victor Seastrom. Presented at the Chicago theater TOMORROW.

The Cast:

  • Hester ……………………..…..…………. Lillian Gish
  • Reverend Dimmesdale …………… Lars Hanson
  • Roger Prynne …….………….. Henry B. Walthall
  • Giles …………………………..………..…… Karl Dane
  • Governor ………………………. William H. Tooker
  • Mistress Hibbins ……….…….. Marcelle Corday
  • Jailer ………………..…………….…….. Fred Herzog
  • Beadle ……………………….…………. Jules Cowles
  • Patience ……………………..………… Mary Hawes
  • Pearl ……………………………………….. Joyce Coad
  • French Sea Captain ……….…. James A. Marcus

By Mae Tinee

Good Morning; Lillian Gish looks like a saint and Lars Hanson looks like Paul Ash in this much “adapted” version of Nathaniel Hawthorne’s story. And I reckon why the film isn’t being presented at the Oriental is because Messrs. Balaban and Katz know the Oriental fans could never bear to see Paul suffer. SO – because Mr. Hanson, who looks like Mr. Ash, has so much to endure as Rev. Dimmesdale – he’s at the Chicago. (Maybe.)

THE SCARLET LETTER, Lillian Gish (hands clasped front left), Victor Sjostrom (aka Victor Seastrom) (hand in pocket front right) with the crew on-set, 1926
THE SCARLET LETTER, Lillian Gish (hands clasped front left), Victor Sjostrom (aka Victor Seastrom) (hand in pocket front right) with the crew on-set, 1926

Those of you who haven’t read the book may find the film version of “The Scarlet Letter” to your liking. But if you are familiar with the story of Hester Prynne, I’m afraid you’re going to be up on your ear over the liberties that have been taken. The screen production is a life sized portrait of a movie magnate showing Nathaniel Hawthorne how.

There has been much bristling officiousness and the result is the most ordinary sort of melodrama instead of a picture of power and subtlety. “The Scarlet Letter” SHOULD have been one of the great pictures of the day.

Though Lillian Gish is truly beautiful in her doctored role and gives a thoughtful and finished performance, she is as different as possible from the author’s conception of his heroine who was – “tall, with a figure of perfect elegance on a large scale. She had dark and abundant hair, so glossy that it threw off the sunshine with a gleam, and a face which, besides being beautiful from regularity of feature and richness of complexion, had the impressiveness belonging to a marked brow and deep black eyes … characterized by a certain state of dignity.

A Story of Old Salem

Hester Prynne was a seamstress in Salem, a New England settlement of early Puritan days. The place, you know, where they burned the witches and made Sunday such a bugaboo that no descendant of a Puritan father has to this day entirely shaken off the influence of those Sunday Morning Blues to which his forefolks clumped their mournful way to meeting along around the close of the seventeenth century.

She bore a child out of wedlock, refusing to name the father, who, the picture almost immediately shows you, was the young, earnest, and greatly beloved minister of the community. For her sin she was ordered by the town fathers to wear always and forever on the bosom of her meek and proper dress the scarlet letter “A,” which should stamp her for all beholders to see as a woman taken in adultery.

Lillian Gish (Scarlet Letter, HiRes)_02
17th February 1926: Lillian Gish (1893 – 1993) is punished for bearing a child out of wedlock in the film ‘The Scarlet Letter’, a 17th century melodrama directed by Victor Sjostrom.

(I’m going to write in the present tense if you don’t mind. It’s easier, somehow or other.)

The minister, who loves her deeply, begs to be allowed to declare his own guilt and share her shame. This, Hester steadfastly refuses to let him do, declaring that her greatest punishment would be to know that she had interfered with his work and destroyed his influence. Besides, she is aware of what he is not, that the man to whom she had been married in England – an old surgeon – but whose wife she had never been, has arrived in Salem and, under an assumed name, is hovering about them like a black and leisurely vulture, biding his time to pounce.

This sinister, implacable, waiting man is present through the entire original story. In the picture he appears near the end providing a “WHO-IS-THIS-MAN!”, “STOP-HE-IS-MY-HUSBAND!” scene. That poor Yorick of the melodramas which you know so well.

Henry B Walthall - The Scarlet Letter
Henry B Walthall – The Scarlet Letter

Little Pearl, the Only Bright Spot

The tragedy develops amid the stern, monotonous, petty routine of the Blue Law ridden settlement, the only bright spot in the lives of these three actively unhappy people being little Pearl, that “child of sin,” who, by some strange rank of Fate is a joyous madcap, utterly uncowed by the outcast condition of her mother and herself.

The denouement, as you can imagine, is a dramatic one. The picture ends sadly where the book does not – which amazes me – for the author provides a comparatively happy ending, and WHEN before have the movie makers rejected a happy ending? As a rule they will make one for themselves if the story writer has not been so considerate as to provide a fadeout that will send audiences forth smiling.

The Scarlet Letter Lillian Gish
Lillian’s Protegee The story of “The Scarlet Letter” gave Lillian Gish, as Hester Prynne, many scenes with little Joyce Coad, who plays Pearl. And Miss Gish believes that Joyce, who is the winner of a California baby contest, will win an esteemed place for herself on the screen. Photo Motion Picture Magazine (Aug 1926-Jan 1927)

In the novel little Pearl, it is told, becomes one of the richest heiresses in England and Hester Prynne, having seen her darling cared for, returns to the scene of her shame and becomes a woman generally beloved. In the lapse of the toilsome, thoughtful, self-devoted years that made up Hester’s life the scarlet letter ceased to be a stigma which attracted the world’s bitterness and became a type of something to be sorrowed over and looked upon with awe, yet with reverence, too. And as Hester Prynne had no selfish ends nor lived in any measure for her own profit and enjoyment, people brought all their sorrows and perplexities and besought her counsel as one who herself had gone through a mighty trouble.

Hester Prynne worried for her ill daughter - Lillian Gish - Scarlet Letter
Hester Prynne worried for her ill daughter – Lillian Gish – Scarlet Letter

Passing Up Some Fine Chances

To this “tall woman in a gray robe” there came from England letters with armorial seals … “and once Hester was seen embroidering a baby garment with such a lavish richness of golden fancy as would have raised a public tumult had any infant thus appareled been shown to our sober-hued community.” …

Can you FEATURE how any movie maker ever passed up the chances offered in those last three paragraphs? Mi-gosh, I can’t.

So much for the stories – Mr. Hawthorne’s and Mr. Metro-Goldwyn-Mayer’s.

The acting throughout is splendid. I foretell great popularity for the Ash-en Mr. Hanson. Sets and costumes are picturesque and of the period. Such scenery as there is lovely and the photography is everything in the world it should be. Also there are some comedy situations which I sincerely hope you may enjoy.

In closing, fans dear, may I remark regarding this film that

“If with joy you’d on it look,

Prithee, do not read the book!”

See you tomorrow!

The Scarlet Letter Hvar 8 Dag Swedish Mag 1926
The Scarlet Letter Hvar 8 Dag Swedish Mag 1926

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Max Reinhardt with Lillian Gish (Chicago Tribune 1928)

Chicago Tribune – Thursday, December 27, 1928 – Page 29

Max Reinhardt Here with Lillian Gish and Hollywood Bound

Max Reinhardt, German theatrical producer, whose setting of “The Miracle” was shown in Chicago three seasons ago, and Lillian Gish, American movie star, will spend a few hours in Chicago this afternoon. They are en route from New York to Hollywood, where Reinhardt will direct his first motion picture, starring Miss Gish, for United Artists.

Max Reinhardt - The Miracle
Max Reinhardt – The Miracle

Reinhardt’s debut in the movie was arranged through negotiations between him and the United Artists officials, as conducted by the producer’s American sponsor, Morris Gest. His film will be placed in production February 1 in a Hollywood studio.

Max Reinhardt mit Lillian Gish im Hotel Esplanade in Berlin 1928
Max Reinhardt mit Lillian Gish im Hotel Esplanade in Berlin 1928

Miss Gish spent six months abroad conferring with Reinhardt and Hugo von Hofmannsthal, Austrian poet-playwright, who wrote the play for Miss Gish. Raimund von Hofmannsthal, son of the author, is accompanying the party to the west coast. The German consul plans to entertain Reinhardt at tea during his sojourn here.

Douglas Fairbanks, Max Reinhardt and Lillian Gish at train station - 1920s
Douglas Fairbanks, Max Reinhardt and Lillian Gish at train station – 1928

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Book World to Take Look at ‘Lillian Gish’ (Chicago Tribune – 1969)

Chicago Tribune – Saturday 17, May, 1969 – Page 111

Book World to Take Look at ‘Lillian Gish’

“Lillian Gish is an artist for art’s sake, and she has preserved for us a precious chunk of one of her own medium’s most magnificent moments in time,” says Liz Smith in her Sunday Book review of “Lillian Gish – The Movies, Mr. Griffith and Me.”

Miss Gish’s book is less a story about herself than about a motion picture innovator, David Wark Griffith, whom she presents to the reader “warts and all.”

The Movies Mr.Griffith and Me
The Movies Mr.Griffith and Me

A lady With Class - Chicago Tribune 1

A lady With Class - Chicago Tribune 2

Lillian Gish- The Movies, Mr. Griffith, and Me


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“The Fatal Marriage” (Enoch Arden) – Chicago Tribune – 1922

Chicago Tribune – Sunday June 25, 1922 Page 91

Back, Back, Back to Days That Are Gone Forever

“The Fatal Marriage”

Presented by Robertson-Cole, Directed by Christy Cabanne, under supervision of D.W. Griffith.

Enoch Arden - Lillian Gish /Paget /Reid

The Cast:

  • Philip ………….…..…………. Wallace Reid
  • Annie …………………………… Lillian Gish
  • Enoch Arden ……..….……… Alfred Paget
  • Annie’s Daughter …..…. Mildred Harris

By Mae Tinee

“The Fatal Marriage,” you must be informed quickly, is a reissue. It was made, I believe, at least seven years ago. O, yes, at LEAST – for D.W. Griffith himself has a small part in the picture. He only appears for a moment or so, but you know the movies were pretty young when he was doing any acting. Then, Wallace Reid and Lillian Gish in the same picture – yes, pretty old!

“The Fatal Marriage” is from Tennyson’s “Enoch Arden,” and is well worth your time and money for several reasons.

Enoch Arden - Lillian Gish /Paget /Reid

It is interesting to see how far Griffith has come once this picture was made. Then, you might say, he was a simple country boy who entered the big city of filmdom unostentatiously and told the little story he was sent to tell with a touching simplicity. Now he enters with blare of trumpets, clad in purple and fine linen, and writes his tales with a golden pen on the mountain sides, while heralds herd the populace to see what he has written.

Then – before the fans crowned Wallace Reid king of moviedom – what sort of a chap was he?

An earnest chap with lots of talent anxious to hold down a job that I warrant didn’t pay him anymore than was necessary to keep a roof over his head. A nice, lovable chap with an eye to the future.

Enoch Arden - Lillian Gish /Paget /Reid

Lillian Gish? How was she some seven years ago? Older, apparently then than now, and just as good an actress.

What about the photography? Surprisingly good. Minus the sensational effects achieved nowadays, but satisfactory.

Enoch Arden - Lillian Gish /Paget /Reid

Most of Us Know the Story.

The story of Enoch Arden is known to most. It is a tale of honest love and friendship. Two men love one woman. Annie, the woman, marries Enoch Arden, a sailor who goes to a foreign port to win a fortune for her and his beloved children. The years pass and he does not return. Annie waits, her constancy never wavering, and Phillip, friend of her husband, and worshipper of herself, stands by, seeing to it that she does not want, and, finally, when convinced that Enoch is dead, pressing her to marry him.

Enoch Arden - Lillian Gish /Paget /Reid

Still Annie waits. Still Enoch does not come. So, at last she becomes Phillip’s wife.

Enoch, who has been shipwrecked on the coasts of Africa, is at last rescued. He returns to his native village a white bearded stranger. Nobody knows him. He finds his old home deserted. He asks of the woman who keeps the inn:

“And what became of Annie who married Enoch Arden?” She replies that Annie waited many years, but at last married Phillip and had just borne him a child.

Enoch Arden - Lillian Gish /Paget /Reid

Enoch, finding that his adored wife is safe and happy, goes to his death without revealing himself to her.

The picture is quite as well acted as many we see today. I was surprised to see Mildred Harris in the cast. As Annie’s young daughter she showed herself an infinitely better actress that at the present time.

The picture will drag a bit, I’m afraid, for most. It will seem like a fairy tale to many. I suppose there are constant loves and honest friendships nowadays, but certainly one doesn’t hear much of them.

Enoch Arden - Lillian Gish /Paget /Reid

Enoch Arden - Lillian Gish /Paget /Reid

Below, original Lillian Gish portrait by APEDA NY used to illustrate this Chicago Tribune article.

Lillian Gish APEDA New York Photography cca 1921
Lillian Gish APEDA New York Photography cca 1921

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The Greatness of Griffith – By W.B. Turner (Pictures and Picturegoer – August 1925)

Pictures and Picturegoer – August 1925

The Greatness of Griffith

By W.B. Turner

Griffith is a Movie Universal Stores. That is the secret of his greatness.

A strange contradiction is D.W.G. A producer of world famous spectacles—he, it is said, loses money on every one of his productions; an epic portrayer of history—an exponent of black-faced comedy; a glorifier of ancient Babylon—and of potatoes. A veritable Proteus amongst producers.

The Birth of a Nation 1915 5

Griffith first made the film-world sit up and take notice with his production of The Birth of a Nation. Here were two ” sure-fire ” box office appeals; the epic sweep of History to please the ” highbrow ” and the pathetic war experiences of a Southern family to attract the others.


Next came Intolerance, switching backward and forward with callous disregard of chronological well-being from modern America to ancient Babylon and from early Judea to the France of Catherine de Medici. But behind all these mental gymnastics was a very fine idea, and all the episodes were excellently presented. The Babylonian sequence is still a criterion amongst lavish settings.

Lillian Gish and Robert Harron - Hearts of the World
Lillian Gish and Robert Harron – Hearts of the World

A war story Hearts of the World followed, with Dorothy Gish stealing the acting honours. But Griffith painted on a large canvas for a’ that. Followed Orphans of the Storm, an epic of the French Revolution with mobs mobbing, Madame Guillotine working overtime, and aristocrats going nobly to their deaths. Yet throughout the frail and pathetic figures of the two orphans caught in the maelstrom shining out like two silver threads.

Dorothy Gish in The Hearts of The World
Dorothy Gish in The Hearts of The World

Last—or rather, I hope, latest—in his gallery of epics comes Love and Sacrifice, a tale of the War of Independence. Here again, although we see skirmishes and battles and are introduced to many historical notabilities, the love story is intended, and does claim the major portion of our attention. Griffith so evidently wants to preach Humanity rather than depict History and to practice Simplicity in lieu of Subtlety, but, like the excellent showman he is, he recognises the value of an attractive setting’ for his simple stories, therefore he encloses his miniatures in the huge gilt frames of history. Sometimes, however, it is the story alone ; as for instance in the film which in my opinion is his masterpiece — Broken Blossoms.

Broken Blossoms
Lillian Gish and Richard Barthelmess in “Broken Blossoms” (Lucy Burrows and Cheng Huan “Chinky”)

Here were no empires tottering to ruin; here no titanic struggles of world powers; no mob revolting against their oppressors. Here was a brutal, beer-swilling pugilist, a frail child of the gutter, an idealistic yellow man and a story from Limehonse Nights. With this material, David Wark Griffith made a film, whose sordid surroundings and Zola-esque climax could not rob of a queer arresting beauty, a beauty which I shall not attempt to analyse because no one can dissect gossamer. Here is the secret of Griffith’s greatness. He is a Movie Universal Stores. Do you like historical spectacle? D.W.G. has it. Do you consider that “kind hearts” and ” simple lives ” are more than “coronets” and “Norman blood”? So does D.W.G. Do you roar with laughter at the spectacle of a negro’s comical terror? D.W.G. shows it. Do you long to sit tight and gasp at the ride to the rescue? D.W.G. shows it in every picture. He has something for everybody. (W. B. Turner.)

The Greatness of Griffith - Pictures and the Picturegoer (Aug 1925)
The Greatness of Griffith – Pictures and the Picturegoer (Aug 1925)

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“La Boheme” – By Mae Tinee (Chicago Tribune – July 07, 1926)

Chicago Tribune – July 07, 1926 Wednesday, Page 37

“La Boheme”

Produced by Metro-Goldwyn-Mayer

Directed by King Vidor

Presented at Roosevelt theater

La Boheme - Lillian Gish, Gino Corrado and John Gilbert
La Boheme – Lillian Gish, Gino Corrado and John Gilbert


  • Mimi …………………..…….….. Lillian Gish
  • Rodolphe ………………………John Gilbert
  • Musette …………………….. Renee Adoree
  • Schaunard …………………George Hassell
  • Vicomte Paul ……………….…. Roy D’arcy
  • Colline ………… Edward Everett Horton
  • Benoit ………………….………….. Karl Dane
  • Theater Manager ….….. Frank Courrier
  • Madame Benoit ………. Matilde Comont
  • Marcel ……………….…..….. Gino Corrado
  • Bernard …………….…………. Gene Poujet
  • Alexis …………..……..………….. David Mir
  • Louise ……………………. Katherine Vidor
  • Phemie ………………….. Valentina Vinina
Lillian Gish as Mimi in La Boheme
Lillian Gish as Mimi in La Boheme

La Boheme

By Mae Tinee.

Good Morning!

The tender care of Mr. King Vidor – the man who directed “The Big Parade” – has caused “La Boheme” to blossom most beautifully for the screen. It’s as artistic as can be – even to the extreme limit of permitting the unhappy ending. It is full of “atmosphere” that I imagine it is the real thing – the atmosphere of Paris’ Bohemia.

Here, you know, lived little Mimi, the embroiderer whose touching romance with Rodolphe, struggling to write an acceptable play, has brought joy through the years to music lovers.

Lillian Gish in La boheme as Mimi, promotional photograph web

Miss Gish’s Mimi is a frail and exquisite darling. Her appeal is that of a beloved and wistful child. You are filled with a mighty desire to protect her. You yearn to do something – anything – to bring a smile to  those eyes and lips, and when, toward the end, she becomes so wan and gray with suffering and weakness – it’s almost more than you can stand. The unhappy ending becomes, in a way, a happy one – for certainly the Mimi of Lillian Gish has no business on this mundane sphere. Her place is with the angels.

(LA BOHEME) de King Vidor 1926 USA avec John Gilbert et Lillian Gish retrouvaille, caleche, diligence, cocher, chevaux d'apres le roman de Henri Murger detail

John Gilbert as Rodolphe is a perfectly delightful person. His brilliant pantomime gives the picture the needed touch of humor and lightness, as well as much of its deep and tender colorfulness. He is a great actor – this young chap – which, of course, you know quite as well as I do.

The supporting cast is all that could be wished for, and “La Boheme” has been staged, costumed, and photographed with a true eye to authenticity and effect. Trust Mr. Vidor for that.

The story upholds smoothly – you could almost say melodiously. Your interest never flags a minute, and quick tears and spontaneous smiles pay tribute to a photoplay that is entitled to the most sincere praise and consideration.

King Vidor Lillian Gish and filming team La Boheme
King Vidor Lillian Gish and filming team La Boheme
La Boheme full cast and crew
La Boheme full cast and crew

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An Innocent Magdalene – By Kitty Kelly (Chicago Tribune – June 8, 1916)

Chicago Tribune – June 8 Page 21, 1916

Flickerings from Filmland

An Innocent Magdalene

  • Written by Merrill H. Burton
  • Five Reel Fine Arts Triangle
  • Directed by Allan Dwan
  • Presented at the Strand
An Innocent Magdalene 1916
An Innocent Magdalene 1916
  • Dorothy Raleigh ……………… Lillian Gish
  • Col. Raleigh ………..Spottiswoode Aitken
  • Forbes Stewart ………..…..Sam De Grasse
  • The Woman …………….……… Mary Alden
  • The Preacher …….…. Seymour Hastings
  • Mammy ………………….……….. Jennie Lee
  • Old Joe ………….……….. William De Vaull

By Kitty Kelly

“An Innocent Magdalene” and Lillian Gish are at the Strand this week. The story is not one to rub through the fine sleeve of plausibility. Some writers would have us believe that there are still remnants of southern aristocracy who regard every one but themselves as poor white thrash and live in their memories and the reflected glory of their past gleaned from attic trunks.

An Innocent Magdalene 1916 Lillian Gish k
An Innocent Magdalene 1916 Lillian Gish k

Lillian Gish as Dorothy Carter, the simple, sweet, obedient child whose tender soul is forced into rebellion by the shackles set upon her, makes appeal as a real person. Some people say Miss Gish is no actress and her range is not so great as that of her sister Dorothy’s but she handles roles of restrained characterization with a delicate subtlety that makes her one of the charming figures of the screen world.

An Innocent Magdalene 1916 Lillian Gish l
An Innocent Magdalene 1916 Lillian Gish l

Alla Dwan’s directing is designed to put vitality into most futile sort of tale, though one might querry why not the better the director the better the scenario?

** Mutt and Jeff make their cartoon debut into the movies for the Strand’s fillip of humor.

Chicago Tribune (Chicago, Illinois) 08 Jun 1916, Thu Page 21 - N
Chicago Tribune – June 8 Page 21, 1916 – An Innocent Magdalene

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