Mayor of NY with Connie Towers and Lillian Gish – backstage in the opening night of “Anya” (December 1965)
Anya star Connie Towers is pictured backstage with Lillian Gish and Mayor of the New York City John Lindsey. In private life, Connie is Mrs. Eugene McGrath who often visits Miami. Her husband’s mother. Mrs. Harry Scheibla, lives in Miami. The McGraths have two small children, a son and a daughter.
Miss Gish is slender, with an exquisitely graceful figure, almost too girlish to affect seriously the perplexing draperies now in vogue for women. Tunics and flowing robes make her look like a young goddess. With her innocent face, large, heavily fringed blue eyes and full mouth, slightly pouting like a child’s, one almost smiles to see her so tall and stately in the classic modes of the day. But it would be difficult to imagine anything more charming than this very inconsistency – this elusive contradiction between youth an womanhood.
Miss Gish was first engaged with the Biograph, studying and training with Mr. Griffith companies; and in an amazingly brief time she was carrying important roles. When her eminent director went to the Mutual in the fall of 1913, she accompanied him. In the early winter she played several ingénue parts with much distinction and charm.
Grand Illusions represents a selection of the most beautiful photographs to emerge from Hollywood’s Golden Years. Their exquisite effects reflect the time and money lavished on every aspect of their production; the exotic beauty of their subjects speaks so tellingly of fantasies on which Hollywood balanced its success.
These photographs have been selected for their esthetic properties, and suggest where possible the range of images conjured through each decade. There has been no attempt to provide an exhaustive catalogue of movie personalities, while obviously, stars such as Lillian Gish and Marlene Dietrich are so clearly avatars, several portraits of them seemed irresistible.
Such a collection necessarily ends in the decade of the forties. After that time, the advent of candid photography and the financial decline of the big studios seldom allowed, and indeed discouraged, the calculated image-making of earlier decades. The photographs presented here were found mostly in private collections, remnants of a past whose luster is still fabulous. (Richard Lawton 1973)
Lillian Gish in “Way Down East” 1920
Lillian Gish in ‘’La Boheme’’ 1926
Lillian Gish and Lars Hanson in ‘’Scarlet Letter’’ 1926
Lillian Gish and Lowell Sherman in ‘’Way Down East’’ 1920
Lillian Gish and Blanche Payson in ‘’La Boheme’’ 1926
Lillian Gish in ‘’The Lily and the Rose’’ 1915
Lillian Gish and Robert Harron 1919
Lillian Gish in ‘’Romola’’ 1924
Admin note: Some of the photographs presented in the book were replaced (above) with better resolution versions.
“We used to laugh about films in the early days,” she says. “We used to call them flickers. Mr. Griffith said, ‘Don’t you ever let me hear you use that word again.The film and its power are predicted in the Bible. There’s to be a universal language making all men understand each other. We are taking the first baby steps in a power that could bring about the millennium.Remember that when you stand in front of the camera.’”