Chicago Tribune – Sunday, March 16, 1941 – Page 31
Young Red-Heads Are Models at Club Anniversary
The Chicago Woman’s club had a colorful 65th anniversary party recently when it introduced 11 south side red-heads to Miss Lillian Gish of the “Life With Father” company. The girls, who modeled in a fashion show which was the highlight of the program, were entertained afterward by Miss Gish at a matinee box party, as well as backstage. Sitting next to Miss Gish is Eileen Kilday, 1365 East 53d street. Standing (left to right) are Marylyn Schaefer, Josephine Cousgrove, Kay Brennen, Lucille Maloney, Elinor Eaton, Helen Geary, Marietta Fox, Alecia Byrne, Jeanne Marie Fox, and Jamie Fox.
America First Rally Today To Hear Talk By Miss Lillian Gish
Miss Lillian Gish, stage and screen star, and Gen. Thomas S. Hammond, former head of the Illinois National Guard, will address an antiwar luncheon rally today at 1 p.m. in the Grand ballroom of the Hotel Sherman. The rally is sponsored by the first Chicago chapter of the America First committee.
Both Miss Gish and Gen. Hammond advocated the entry of the United States into war in 1917, but are now convinced that the participation in the present European conflict would bring dictatorship and financial collapse.
Miss Gish, who starred in British propaganda films which helped to draw the United States into the first world war, will describe propaganda technique again being used by the British and American governments. Gen. Hammond, chairman of the Illinois America First committee, will discuss the economic peril to America if the nation goes to war.
Mrs. Janet Ayer Fairbank, national vice chairman of the America First committee will preside. All the 55 state chapters are expected to send representatives to the luncheon.
Miss Gish’s Argument
“Why not bring freedom of speech and religion, freedom from fear and want, to our own land before we set out to bring them to other lands by letting the people of the United States, who will have to pay, decide by vote on the issue of war?” Miss Gish asked. “If there is any foresight or justice in Washington, the question will be put to a vote.
“In 1936 I voted for Mr. Roosevelt. I didn’t vote in the last election, however, because I felt that both candidates were more interested in other countries than their own. We won the last war, but what did we get out of it? Three hundred forty-six thousand dead and wounded, an over-all cost of 45 billion, prohibition with its attendant hypocrisy, lawlessness, gangsters, ten thousand bank failures and a depression from which we have not yet recovered.
“Now is a good time for us to recall George Washington’s words – that the nation which holds toward another an habitual hatred or an habitual fondness is in some degree a slave – a slave to its animosity or its affection, either of which is sufficient to lead it astray from its duty and its interests.”
Chicago Tribune (Chicago, Illinois) · 10 January 1941, Friday · Page 17
Probably the last Christmas tree in Chicago to be taken down is that of Miss Lillian Gish, in her apartment at the Blackstone hotel. The tree, hung with ornaments and webbed in silver mist, the holly wreaths, the Christmas angels on the mantelpiece, and the Christmas candles go down today with the departure of Mrs. Gish for New York after a holiday visit with her daughter here in her long run of Life With Father.
Mrs. Gish, who with her dazzling white hair and deep blue eyes is reminiscent of a Dresden figurine, is an invalid as a result of shell shock in the world war, when she accompanied her daughters, Lillian and Dorothy, to the war area, where they made propaganda pictures under the direction of David Wark Griffith. She lost 35 pounds during the stay in the war zone, and has been invalided ever since.
Lillian and Mrs. Gish sailed for England on the first boat to cross the Atlantic after America had declared war, the St. Louis. Dorothy Gish sailed later on the Baltic, the same boat that carried Gen. Pershing and his staff overseas, and took 13 days to do it.
“Think of any one having the courage to face the movie camera,” the commander of the A.E.F. said to Miss Gish.
The Gishes were in London during two months of heavy bombardment. In September they sailed for France on a troop transport that started out twice and returned because of floating mines. Griffith had gone ahead to get into production, and when the two Gish girls arrived with their mother they went into the war area and made pictures in trenches and beyond the barbed wire. During their stay in Paris they lived with a French family in a bomb shelter, and learned to tell by the sound of the motors overhead what kind of plane and which country’s it was. The pictures made were Hearts of the World, The Greatest Thing in Life, and The Great Love. Remember?
Chicago Tribune – Sunday, January 27 1927 – Page 94
Lillian Gish is Annie Laurie
Lillian Gish is the demure damsel before you, and she looks like this in “Annie Laurie,” in which picture she has the role of the Scottish Joan of Arc.
Lillian Gish literally is Annie Laurie. Those who imagined her as a myth or legend will be amazed at the actual woman; Miss Gish is a faithful portrayer of the real Annie Laurie, who lived centuries ago whose love and whose heroism turned the tide of Scottish history in a real life drama more powerful than any imagined by a scenarist; and whose romance has come down to the world in song of the ancient bard. “Annie Laurie” is a tremendous drama of history. It deals with the gigantic ferment and struggle in Scotland that culminated in the Glencoe Massacre.
It is all laid on actual fact. Miss Gish, as the historic daughter of Sir Robert Laurie, chief of Clan Campbell, approaches the genius of Bernhardt, but always coupled with her own ethereal charm, in the mighty drama, in which she enacts the Scottish Joan of Arc. Norman Kerry plays the hero as a chieftain of the enemy clan of MacDonald. The great battle scenes, with hordes of six foot wanders in tartans and plaids, battling with shield and claymore—the majesty of the ancient Scotch castles these all add glamor. But the charm of Lillian Gish pervades it all.
Annie Laurie – Photo Gallery
Admin note: Lillian, however, was riding on the top wave. An English company offered her the lead in “The Constant Nymph”; a great German company offered the part of Juliet: “Cannot tell you how delighted we should be, if the remotest possibility”; de la Falaise offered her the part of Joan of Arc, in a picture for which Pierre Champion, the great French authority on Joan, had prepared the scenario. To the last named, she replied that she had long been considering the part of Joan, and put the matter aside with real regret. And many wanted to write of her. Whatever she did, or was about to do, was news. A magazine, Liberty, sent a gifted young man, Sidney Sutherland, all the way to the Coast to see her. He had expected to do one, possibly two, articles, but his editors asked for more, and under the general title of “Lillian the Incomparable” continued his chapters —”reels” as he not inaptly termed them—through nine weekly instalments! On any excuse, and with no excuse at all, other than what it presented, and stood for, periodicals carried her picture. Vanity Fair published a full front-page portrait, by Steichen, nominating her “The First Lady of the Screen.”
Chicago Tribune – Saturday, March 28, 1925 – Page 3
Jam Courtroom to Get Glimpse of Lillian Gish
New York, March 27 – [Special] – In the hop of seeing Lillian Gish on the witness stand in the suit brought by Charles H. Duell to prevent her acting for other companies, admirers of the film star flocked in such numbers to the courtroom in the Woolworth building, that the corridor and the courtroom had to be cleared.
Miss Gish sat unperturbed through all the craning of necks in the back of the room. Her face was white. She showed no signs of nervousness, but it was evident that she did not look forward with pleasure to her appearance on the witness stand.
The crowd, however, was disappointed in its hope of seeing Miss Gish on the witness stand. Hammond Duell, counsel for his brother, did not call the screen actress. The situation had changed and he said he might not want to question Miss Gish before Tuesday.
J. Boyce Sraith, who was secretary of Inspiration Pictures when Charles H. Duell was president and Miss Gish was one of the stars, remained on the stand for most of the day. He was succeeded by Miss Blanche C. Brigham, secretary to Mr. Duell. After Miss Brigham had identified correspondence between Duell and counsel for Miss Gish, court was adjourned until Monday morning.
Los Angeles California, April 24 – (AP) – Lillian Gish, screen actress, won the $5,000,000 breach of contract suit brought against her by Charles Duell, producer, today. A jury verdict for the defendant in the trial was returned when the court instructed that such a verdict be given on the grounds that all the issues of the case previously had been adjudicated in the federal court of New York.
September 9, 2020.Reading time less than 1 minute.
Chicago Tribune – Monday, September 23, 1940 – Page 15
Boost Shop to Aid War Sufferers
Miss Lillian Gish and Mrs. Ernest A. Hamill II. With a Toby jug that Mrs. Robert J. Dunham donated to the shop for the British War Relief society that decorators and architects of Chicago will open today. The jug will bring a considerable sum, no doubt, for it was made in 1780 by Ralph Wood, English potter. Miss Gish will assist in the shop late this afternoon.
Chicago Tribune – Sunday, April 22, 1928 – Page 91
Film Depicts War Minus the Glamour
Produced by Metro-Goldwyn-Mayer, Directed by Fred Niblo, Presented at the Chicgo theater tomorrow.
Pauli Arndt …………..………… Lillian Gish
Carl Behrend ………………. Ralph Forbes
Bruce Gordon ………….. Ralph Emerson
Professor Arndt ……….…. Frank Currier
August Behrend ….….. George Fawcett
Mitzi Winkelmann …… Fritzi Ridgeway
Fritz Winkelmann ……… John S. Peters
Jan …………………….…………….. Karl Dane
Baruska …………….…………. Polly Moran
Kurt …………….………. Billy Kent Shaefer
By Mae Tinee
And now comes “The Enemy” to put its influence on the side of the outlawry of war. The picture, adapted from Channing Pollock’s play, does not have war outlawry as its subject, but it’s portrayal of Hate as “the enemy”; its argument that profiteering and not patriotism is, in the last analysis, the spirit behind the wars of nations, makes strong food for the thoughtful.
Again one sees gallant youth marching to death on bloody battlefields for “God and country.” So many boys! So many countries! Only one God, to whom all are praying for aid and vengeance! And safe and snug at home – the profiteers! – crooning exultant lullabies to their war babies. That is what “The Enemy” is about. The action takes place in Austria, before, during and after the world war. With the exception of a few instances in which the director became rather awkwardly entangled with his material, Mr. Niblo has made his picture a telling one that whams the author’s meaning home with force and pain.
The Story is Laid in Vienna.
The principal characters are Pauli, a gentle German maiden, daughter of an old university professor, dearly beloved by the student lads who come to Vienna to study from every other country in the world. A kindly philosopher is Prof. Arndt; a believer in all the powerfulness of love …
Pauli; the professor – then Carl Behrend, the German youth who has been Pauli’s sweetheart from babyhood; Bruce Gordon, an English student and Carl’s best friend, who also loves Pauli, and August Behrend, Carl’s father, the profiteer.
The other players are important asides, but the ones named bear the brunt of the story on their shoulders.
On the eve of the war the student body of the university at Vienna breaks class. There is an atmosphere of great good fellowship and later, at dinner at Pauli’s, the love of Pauli and Carl is wholeheartedly toasted and by none more cordially by Bruce Gordon who has accepted the fact that Pauli can never be his.
Into this gathering, like a bomb bursting in the air, comes the announcement that war has been declared. Bitter argument starts that ends in a fight between the students. Bruce leaves to serve his country.
Pauli and Carl are married – the music of their wedding march broken in upon by strains of martial music as the soldiers march to the front. And Pauli spends a sleepless wedding night, her anguished eyes on the clock that soon will strike the hour of five when her husband must leave her, perhaps forever.
War, as It Was Behind the Lines.
After that the picture shows war as it was at home while the guns on the battle front were taking their toll. Starvation. Suffering of all kinds.
Pauli’s father is dismissed from the university because of pacifist utterances, and the Arndts and their devoted maid, Baruska, know utter poverty. Behrend, the profiteer, offers money that is refused.
“It is stained with the blood of women and children. The price for a corner in wheat. And you call yourself a patriot!” says Arndt.
“It is war,” says Behrend, shrugging, and takes his departure.
I need to go no further into detail regarding events that cause Pauli to make a good woman’s ultimate sacrifice in order that her baby may have milk; her terrible joy when it dies; or the fighter incident of the parrot who cries, once too often “Hurrah for the glory of war!” at a time when something is needed to strengthen the soup.
Nor of course, do you care to know about the ending.
As Pauli, Miss Gish has (I believe) her first modern role. Her characters have always lived in the past – Hester Prynne, Mimi, Romola, Annie Laurie … Personally I prefer her in portrayals of femmes of an earlier day. She is fundamentally, the most unmodern person in the world and is no more to be brought up-to-date than a crinoline. Her Pauli was, to me, somewhat of a ghost lady, to be approved of and pitied in shadowy fashion. A ghost lady whose troubles chill the heart like a cold mist but are incapable of awakening that heart to strong, passionate, protesting response. She may affect you differently, but that’s how I felt about her. ***
Ralph Forbes you will find lovable and convincing, as is Ralph Emerson – great nephew, by the way, of the Emerson who has meant so much to so many of us.
Frank Currier is a dear as the professor, and George Fawcett a devil as the profiteer. Polly Moran and Polly the parrot contribute bits of needed mirth. And maybe you will care more for the others in the cast than I did.
Intelligent thought has been given stagings and the picture is excellently photographed. It is a production you will not lightly forget.
*** Admin note: Below are written some of the opinions of others, well known others, who indeed were affected by Miss Gish’s performance somewhat different than Miss Tinee here. Also if one cares to read more detailed and well documented reviews of above mentioned film, kindly access the home page and search for “The Enemy” (upper right corner)
“Although Miss Gish’s acting is on her own familiar lines, she has, as always, that valuable asset of restraint. Fred Niblo, who was responsible for the film version of “Ben Hur,” does not display in his direction any great imagination in the handling of the players nor in the continuity of action.” (Mordaunt Hall – NY Times)
“Lillian Gish ceases to be the ethereal goddess. She is an every-day woman who sacrifices her man, her child and finally her honor, for the necessity rather than glory of battle. As the Austrian bride of an Austrian soldier she proves that she is a really great actress. Her love scenes with Ralph Forbes are superb with genuine emotion; her sufferings as realistically tragic as though she had lived behind the German trenches.” (Photoplay – The Shadow Stage)
“Lillian Gish A Hit in her First Big Modern Role” (Loew’s Ohio Newsette UA 1928)
“Most of the interest goes to Lillian Gish, who never has done a more honest bit of acting. It is earnest, sincere, and save where the author grows over hysterical, convincing. It rises superior to her “Hester Prynne” and atones for “Annie Laurie.” (MOVING PICTURE WORLD December 31, 1927)
“The star is Lillian Gish and, as is her custom, she acts with fine poise and restraint and yet releases an admirable suggestion of pent-up emotions.” (Laurence Reid – Motion Picture News – December 31, 1927)
“Lillian Gish comes to the Strand theatre in her first modern role on the screen. Heretofore the famous star has always lived in the past, so far as her plays were concerned; in fact, it was often held that her type of wistful appeal could only be brought out in period plays and stories harking back to the days of long ago. But in “The Enemy,” she is even more effectively dramatic as a modern woman than even as a Romola or Mimi or Hester Prynne.” (San Pedro News Pilot, Volume I, Number 98, 27 June 1928)
“Beneath her frail exterior, Lillian Gish conceals an indomitable spirit and unshakable courage and willpower. Long ago, when she left D. W. Griffith’s direction, disaster was predicted. Few believed that she could stand alone, away from the man under whose guiding genius she had risen to the first rank of screen stars. But Lillian was no Trilby, to collapse when Svengali’s spell was removed. She determined to show a critical world that she had brains of her own and could use them. She made her first independent film, and to-day Lillian still ranks amongst the first-class stars.” (Picture Show Annual – 1929)