Old Wounds … New Scars – By Alma Talley, 1928

Picture Play – November 1927 – Volume XXVII, Number 3

Picture Play – January 1928 – Volume XXVII, Number 5

Manhattan Medley

Uncensored and informal impressions of the stars

By Alma Talley

Lillian Gish has tried hard to hide in New York and would have succeeded but for her love of the theater and her frequent attendance, with George Jean Nathan, at the openings of the new plays. Lillian being a most mysterious person, no one knows whether her rumored engagement to the critic is true or not; it may be surmised, however, that her devotion to her invalid mother prevents any thought of marriage in the near future.


The theater is almost her only recreation, as nearly all her time is passed at her mother’s bedside. Her New York apartment, with a trained nurse in constant attendance on Mrs. Gish, has been rather like a hospital, and of course Lillian receives no one there.

As for that report that she is to join United Artists, “Really?” asked Lillian. “Tell me all about it.” She declared that she had been working hard—exhaustingly hard — for several years, and now all she wanted was a good rest ; she was making no plans at all for the future. Miss Gish made a rather interesting criticism of current film productions. They are becoming “arty,” she declared, and directors are obsessed with the subject of camera angles. Having found something new to play with, American producers are almost forgetting, in their enthusiasm for striking photographic effects, that they have a story to tell in a photoplay. The result is a picture that is consciously artistic. The eventual result will, of course, be a higher quality of films than we used to have, with artistic effects woven more closely into the story, but without being so obstrusive. Critics, always somewhat “snooty” about the talents of a film star, are only too eager to pounce upon the efforts of a little movie actress trying to make good on the stage.

Dorothy is also attending a stage training school this winter—and you’d never guess why. It’s to satisfy a yearning that she has kept buried for years—to be able to do a clog dance.

Dorothy Gish in Tiptoes 1927 - A Paramount Release 5
Dorothy Gish in Tiptoes 1927 – A Paramount Release

Revives Old Legal War.

Lillian Gish has been sued recently for the insignificant sum of five million dollars, which is the amount asked in the way of damages by the former producer of her pictures, Charles H. Duell. This case has been up before, and at that time Duell lost out in his contention. The matter is terribly complicated, so we won’t attempt to tell about it here, except to mention that Mr. Duell asserted that Miss Gish and he were at one time engaged. About the time the news of this suit came out, Lillian was kept quite busy denying her engagement to George Jean Nathan, the knight-errant among the critics.

** You wish to read more about Duell – Saga? Kindly access the link below.

LILLIAN GISH SUED by Charles H. Duell

Lillian Gish, is as sweet as they come. She spends all her leisure time at the bedside of her invalid mother. Lillian is thirty-one, weighs one hundred and twelve pounds, and is five feet four inches. Her new picture is “The Wind.”

Director Victor Sjostrom, cameraman and Lillian - backstage The Wind
Director Victor Sjostrom, cameraman and Lillian – backstage The Wind

A Film that Will Be Talked About.

We saw the Lillian Gish film, “The Wind,” not long ago, and consider it one of the best of recent productions. It isn’t the popular sort of picture, perhaps, but it has unusual merit. It is the story of a girl’s bitter experiences in a storm-swept Texas prairie amid primitive conditions to which she is totally unaccustomed. The way in which Victor Seastrom, the director, has conveyed the effect of tempests beating upon the young girl’s mind may perhaps be just a trifle theatrical, but it is amazingly effective just the same. We expect that this production will be much talked about.

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