Defy Perils of War to Get Scenes Shown in “The White Sister” (Santa Cruz Evening News, 1924)

  • Santa Cruz Evening News, Volume 33, Number 107, 5 March 1924
  • Defy’ Perils of War To Get Scenes Shown In “The White Sister”

One of the most exciting and dangerous locations ever used in the making of a motion picture was visited by Henry King’s production unit of “The White Sister,” the .Metro Inspiration special, opening a two day’s engagement at the New Santa Cruz theater, today, in which Lillian Gish stars. It was necessary to get some desert scenes, and in order to do this the company was forced to go to Algeria, where the natives were warring on the Italian government. Under military guard night and day, the actors were constantly in danger of being attacked by wild Mohammedan, fighters. As if to emphasize the danger, they were incurring, the actors and mechanical staff were treated to the sight of a troop of Italian cavalry bringing into Tripoli, the capital city, 500 prisoners who had been captured in a severe engagement the preceding day.

The White Sister – behind the scenes

Have Pleasant Dreams

It was in the country where this battle had been fought that the actors were going to get color for the stirring scenes of the story dealing with the capture of the hero by Arabs. “We could not wait for the rebellion to end,” said Ronald Colman, who played the role of Giovanni, “and against the advice of Giuseppi Wolpi, the governor-general of the province, -we concluded to go out to our location on the desert forty miles from the capital city. So serious was the fighting that the city was surrounded by barbed wire entanglements. Owing to the co-operation of the Italian government, though, we were given a military escort, a battalion of 500 infantrymen and 150 native loyal camel-troops under command of officers were assigned to us.

The White Sister – behind the scenes

Taste of Real Thing

“It was most aweing to see the prisoners being brought in by the victors. It was a taste of real warfare. The prisoners were sullen and defiant. We took possession of the block house which, had been captured by the Italian troops and there for six days, constantly being disturbed by rumors of the approach of the insurrectionists -we shot all the scenes necessary. “Regular military discipline was maintained and every precaution taken to guard against surprise. Every day scouts from the camel troop pushed into the desert to make reconnaissance. It is most inspiring to see these ungainly beasts start out. They are used on the desert because horses can not stand the going of the sand. The camels make speed that seems incredible.  Warned of attacks, outposts were established and wire entanglements were stretched about our encampment. Several times we were warned that bands of insurrectionists were preparing to attack us, and the troops made ready for a desperate engagement, as the fanatical rebels defied death in their struggle against Italy. Detachments from our guard put a force to rout without firing a shot, as the rebels recognized the superior force. “All of us at one time or other have been locked out of our homes, but never before have I been locked out of a city. When we had finished our work in the desert we started back for the city. The journey of forty miles took longer than we had calculated. The gates of the city are locked at 9 o’clock and we found them locked against us on our arrival. We had to go back six miles to a block house and telephone in to have the gates opened for us.” “The White Sister,” by F. Marion Crawford, is a Henry King production, made by Inspiration Pictures, Charles H. Duell, Jr., president, and is released through Metro.

The White Sister – behind the scenes

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“La Boheme” at New Santa Cruz Excites Interest (Santa Cruz Evening News, 1926)

Santa Cruz Evening News, Volume 39, Number 22, 27 December 1926

“La Boheme” at New Santa Cruz Excites Interest

Music lovers as well as picture goers are awaiting with interest the opening of “La Boheme,” Lillian Gish latest starring vehicle, which comes this evening to the New Santa Cruz theater. Based on the story which inspired the famous opera, it presents the heroine of “The Birth of a Nation,” “Romola” and other famous plays in the role of “Miml,” tragic waif of the Paris Latin quarter, whose story is known and loved by millions. The role is said to be the most nearly perfect vehicle ever selected for Miss Gish’s wistful charm. A notable cast is seen in the new production, which King Vidor, master of “The Big Parade,” directed. John Gilbert is the romantic poet Rodolphe, and Renee Adoree plays the vivacious Musetta. Roy D’Arcy, Edward Everett Horton Gino Corrado, Karl Dane, George Hassell, Frank Currier and other well-known players are seen in supporting roles.

  • “La Boheme” 1926
  • Produced by Metro-Goldwyn-Mayer
  • Directed by King Vidor
  • 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

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Advertising “The White Sister”

This glimpse of one of the early scenes in “The White Sister,” Lillian Gish’s first picture for the Inspiration company, holds rare promise of beauty, for it seems to haye caught in its very backgrounds her ephemeral charm.

White Sister Lobby Card (Inspiration Pictures)

Ever since the first announcement almost a year ago that Lillian Gish was going to play this widely known heroine of F. Marion Crawford’s there has been keen interest in this production. For such quiet power and spiritual beauty as hers suits the character of the little romantic girl who enters a convent when her sweetheart disappears.

Metro-Goldwyn Pictures Presentation Book (Australia) 1924

Lillian Gish, away from the guiding hand of Griffith, proves to be as moving as ever. In an emotional race with Vesuvius in eruption she captures all the honors. In her support she has a tragic but uplifting story, real Italian scenery, and a charming new leading man named Ronald Colman.
This is heavy drama, and it lias what you call an unhappy ending, but if you are a showman you can cash in in a big way, clean up some real money, and thoroughly satisfy your cash contributors.

Metro-Goldwyn Pictures Presentation Book (Australia) 1924

There is a lyric quality to Lillian Gish’s acting in “The White Sister” (Inspiration) which has never been recognized before. In that respect Henry King who directed this tragic story of broken romance has brought forward a talent which Griffith neglected in order to create an emotional outburst, of pent-up floods of passions and fear. As the frail, tender misguided child of fate, Miss Gish makes poignant appeal. It is heart-rending to see this tormented soul taking her separation from her lover with such courage and when learning of his death, turning her back on the world and finding peace and sanctuary in the Church.

Signed Promotional Photo – Lillian Gish and Ronald Colman – The White Sister

Miss Gish gives a truly great performance, and Ronald Colman does a bit of work that will make producers check up on him. Gail Kane is a splendid menace, and the remainder of the cast is more than satisfactory because the Italian players were not permitted to overact.

“The sincerity of Miss Gish’s acting is the greatest tribute to her genius. The balance of the cast have been expertly chosen,” is the opinion of the San Francisco Examiner critic.

Moving Picture World (Feb 1924) Praise The White Sister 1

“Beauty, reverence, the swirl of wild passion, the power of purity, a man’s sacrifice for his fellows — these are some of the impressions brought away from looking at The White Sister,” stated the San Francisco Chronicle.

“There are two outstanding features of The White Sister. One, and that which is called first to the attention of the viewer, is the beauty of the production. The second is the acting of Lillian Gish in the title role,” said the San Francisco Call and Post.

Moving Picture World (Feb 1924) Praise The White Sister 2
The White Sister

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Gish Supreme In “La Boheme” (Santa Cruz Evening News, 1926)

  • Santa Cruz Evening News, Volume 39, Number 23, 28 December 1926
  • Gish Supreme In “La Boheme” At New Santa Cruz

Has Lillian Gish, star of many roles, found an ideal one – her supreme contribution to the art of the screen? Many people say so, after having seen her Mimi in “La Boheme”. Never before did role fit artist, and artist fit role, so ideally as Lillian Gish and the character of the little wistful waif of the Latin Quarter, in the quaint romance now playing at the New Santa Cruz Theatre. ‘ A notable cast was directed by King Vidor in the new picture, Miss Gish’s first American-made play in some years. John Gilbert, as the poet Rodolphe, reaches the heights of genius opposite Miss Gish, and Roy D’Arcy repeats his triumphs in “The Merry Widow” as the suave boulevardier, who represents all the hero’s jealous fears. Renee Adoree makes a charming Musetta, while Gino Corrado, Ed. Ward, Everett Horton and George Hassell are a lovable trio of Bohemians in the quaint French quarter.

La Boheme – Photo Gallery

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Genius Shown in “White Sister” (San Bernardino Sun, 1924)

  • San Bernardino Sun, Volume 54, Number 102, 10 June 1924
  • Genius Shown in “White Sister” – Now Playing To Large Crowds Here


Those who know motion pictures, have termed “The White Sister” a perfect photoplay. This may be why it has been secured as a feature attraction at the Opera House with two showings daily this week.

The White Sister

Lillian Gish Hailed by Critics as Supreme Interpreter of Character

A motion picture reviewer regrets having wasted adjectives on other film features when he is confronted with such a picture as the Henry King production of “The White Sister,” in which Lillian Gish is now appearing at the Opera House. Here is a motion picture achievement that deserves and demands the use of all the praise it is possible to bestow, for nothing finer has ever reached the screen. It is perhaps the finest dramatic offering ever turned out as a motion picture, and everyone concerned In its making, distribution and presentation is to be complimented most highly. Miss Gish is magnificent. No actress of this generation on stage or screen has carried the flame of sheer genius into her acting as does the frail little star of “The White Sister.” One has to hark back to the thrilling intensity of a Duse and the passionate emotionalism of a Bernhardt for comparison. Nowhere in the long list of screen plays has there ever been so convincing and thrilling a love epic as this romance of a girl and her young soldier lover.

The White Sister

Ronald Colman, who plays opposite Miss Gish, is the “find” of the screen year – a handsome, dashing hero. In filming F. Marion Crawford’s story, Director King took a company to Italy. Studios and laboratories were established, and then began the making of what should prove one of the truly great productions in cinema history. Mr. King has brought to life the characters of Mr. Crawford’s novel and filmed his story in the exact locale in which It was set. Most persons are familiar with the story and many have undoubtedly longed for its presentation on the screen. These and countless others will be deeply grateful for Mr. King’s production. He has held closely to the story, offering many thrills in the way of the actual eruption of Vesuvius, and a flood that sweeps away an Italian town and makes one almost feel that he is to be taken with it, so realistically has it been done.

The White Sister

The settings are exquisite; the photography of the highest quality, and Miss Gish’s supporting cast shows it was chosen with care, for the members all contribute to the general effectiveness of the film. As a matter of fact, “The White Sister” comes near to being “the perfect picture.” To those who are regular movie fans we say “Don’t miss it.” To those who are not regulars, we hold this picture up as a shining example of the accomplishments of the screen, and unhesitatingly recommend that they see it. “The White Sister” is a Henry King production for Inspiration Pictures, Charles H. Duell, Jr., president, and is released through Metro. “The White Sister” will be the attraction at the Opera House twice daily, matinee at 2:30 and one evening show at 8 o’clock until Friday night, inclusive.

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“La Boheme” – Program Book NY

Sartov, King, Thalberg and Lillian Gish on set for La Boheme

La Bohème (1926)







Suggested by Henry Murger’s

Continuity by

Directed by

LA BOHEME, John Gilbert, Lillian Gish, 1926 s
LA BOHEME, John Gilbert, Lillian Gish, 1926 s

Presentation and Musical Score Arranged by
Major Edward Bowers, David Mendoza and William Axt



MUSETTERenee Adoree
COLLINEEdward Everett Horton
MARCELGino Corrado
SCHAUNARDGeorge Hassell
BERNARDGene Pouyet
MADAME BENOTMatilde Comont
LOUISECatherine Vidor
PHEMEIEValentina Zimina

Director: KING VIDOR

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



The Story of “La Boheme”

IN a cheap, paris rooming house, frequented by the students and budding artists of the Latin Quartier, live Mimi and Rudolphe. Mimi is an orphan, a fragile waif who ekes out a bare living by sewing, and rodolphe an ambitious playwright who manages to exist by loans from friends and by doing hack work for a newspaper.

Rodolphe shares his chambers with other members of the Bohemian Brotherhood, a group of young intellectuals whose tempestuous love affairs entertain the gossips of the Latin Quartier. The Brotherhood is composed of Schaunard, devoted to the twin arts of music and painting; Gustave Colline, self styled “a thinker”; Marcelle, a painter, and Rodolphe, the poet-playwright.

When Rodolphe first sees Mimi, ascending the malodorous stairs of their dingy lodging house, he is amazed by her angelic beauty. Later he learns that she is to be dispossessed from her room, being unable to pay her rent. That evening, as Mimi starts to leave the house with her few possessions tied in a small bundle, the Bohemian Brotherhood intercept her on the stairs and, augmented by Musette, Schaunard’s sweetheart, persuade her to have supper with them. They are unable to raise money enough to pay Mimi’s rent, but solve the problem by making her one of them, and she becomes the little sister of the Bohemians.


In Schaunard’s Elysium, the fanciful name of their attic chanbers, mimi’s life is transformed into a thing of beautiful gratitude to her new found friends, especially so to the romantic playwright, who sets himself to win her with little kindnesses. His dashing wit and handsome appearance also charm the little seamstress.

LA BOHEME, John Gilbert, Lillian Gish, 1926
LA BOHEME, John Gilbert, Lillian Gish, 1926

By the time Easter has come the two have found a deep and sincere love for one another, and at a picnic in the shadow-haunted Bois de Boulogne they confes their mutual love.

Time flies swiftly for the lovers, and soon Rodolphe finishes his play, “The Avenger.” Manager after manager rejects the ambitious opus of the young man. Discouraged by this continual dashing of his hopes, Rodolphe despairs of his ability, and begins to look upon himself as a failure. But Mimi, in her great faith, will not allow him to think so; she encourages him to writ it over again. With petty cajolery she wins him from his despondency.


With renewed fervor he revises the play, and so absorbed is he by it, that he forgets to write his weekly hack articles for the newspaper. finally a messenger arrives to remind him that he must have his work at the editorial office by a certain time. In a desperate hurry the young playwright finishes his article and is about to bring it to the offices of the journal. but Mimi offers to take it for him, so that he may have more time to work on his play. On her arrival, the editor griffly tells her that Rodolphe’s articles are no longer wanted; the paper has gone to press, and Rodolphe is discharged.


Mimi is frantic with anxiety. She realizes that the success of the play is as vital to the life of the ambitious Rodolphe as food — and yet, he must eat. Finally she hits on a device by which she may aid him. She conceals his discharge from him, and each week pretends to take his articles to the paper, returning with money presumably paid to Rodolphe by the editor. But, in reality, she ricks her fragile health by sewing all night.

LA BOHEME, John Gilbert, Lillian Gish, 1926 the dispute over the play
LA BOHEME, John Gilbert, Lillian Gish, 1926 the dispute over the play

Rodolphe, not suspecting Mimi’s sacrifice, is happy; the play almost writes itself in the fire of his inspiration. At last he finishes it, and the tow lovers are enthusiastic about its artistic worth, and the new vistas of life that its success will open to them.

During the while that Rudolphe has been engrossed by his play, a cynical boulevardier, Vicompte Paul, charmed by Mimi’s beauty, has been cultivating her friendship by bringing her sewing to do. By a disply of his wealth, his fine home, his gorgeous apparel, and by shoing her the pleasures and luxuries that he could give her, he attempts to win her away from rodolphe. But Mimi is faithful and devoted to her lover, and Paul, much impressed by her high hearted steadfastness, admires her for her virtues, and becomes her friend.


When Rodolphe finishes his masterpiece, Mimi shows it to Paul, and he is immediately impressed with the originality of the young playwright. In his enthusiasm, he tells Mimi that he will find a manager to produce it, and goes out to interest a friend of his in the play. He is successful in this and they make an appointment for the reading. In order to surprise Rodolphe with his good fortune, and to keep him from disappointment should she fail, Mimi holds this new development a close secret. On the appointed night, Mimi, in borrowed clothes, goes to the theatre with Paul, where the manager gives her an encouraging audience.


On the same night, Rodolphe learns from the editor of his newspaper that he has been discharged for a month. On going into Mimi’s room he finds evidences of her sacrifice, and is deeply moved.

Mimi, overjoyed with the happy termination of her endeavors, returns from the theatre and hastens to remove and hide the clothes which she has borrowed for her important mission. While she is still engaged in this, Rodolphe enters to tell her that he is aware of her sacrifice, and assure her of his love and gratitude. He sees the gay shoes that she has been unable to remove, finds the clothes she has so hastily concealed, and jumping to an erroneous conclusion, accuses her of intimacy with Paul. Hurriedly, pathetically, she tries to explain, but he won’t listen to her, and in a sudden rage hurls her to the floor. She coughs terribly, a result of the long, hard nights of work in his behalf. Remorseful, and alarmed by her illness, rodolphe rushes for a doctor.


Rodolphe returns with the physician, and finds that Mimi has gone. he reads a note she left him, which tells him how she has thought herself an impediment to his literary success, how she can not bear to let him sacrifice himself for her, and that she is leaving him, but will return when his play is a success.

In vain does the heartbroken Rodolphe search for her in the Latin Wuartier. For she has gone to another district, to slave in a factory for scanty food and a cold lodging.

Months pass; months of frantic searching on the part of Rodolphe, and of heart randing toil and privation on the part of Mimi. In these months Rodolphe’s play has been accepted.

A day before the opening of his play, Rodolphe tries to alleviate his pain by giving a party to herald his coming triumph. And, even while music and all manner of merriment reign at Schaunard’s Elysium, Mimi falls desperately ill, and learns from the doctor who attends her that she has but a day to live.


The following night the play opens, and rodolphe triumphs, while Mimi, knowing that death is upon her, staggers back to the old room. A friend apprises Rodolphe of Mimi’s return, and he rushes to her side. But his joy at her return is soon ended, when he sees how pitifully frail and thin she has become. He overwhelms her with caresses, but Mimi warns him that she is dying, and that he must let her speak. She tells him that she loves him and that he must not reproach himself for what has happened, then quietly expires, clinging even in death to a tiny muff that he had given her. Rodolphe is convulsed with grief.

Ten years pass slowly for Rodolphe, and he finds himself a great success, the literary idol of all Paris, but still unhappy — carrying always in his heart the weight of his tragic love.


A Successful Experiment

THE stage type of rehearsal, unchanged since the halcyon days of ancient Greek drama, may prove the solution of the screen’s greatest problems — and they are many.

This  is the theory evolved from a new system of direction which King Vidor successfully tried out for the picturization of the opera-novel “La Boheme,” Lillian Gish’s first starring production for Metro-Goldwyn-Mayer. The entire screen world watched Vidor’s experiment with keen interest. For it means a vast saving of time and worry.

The first step, originally taken by the “La Boheme” company, consisted of a series of careful rehearsals of every scene in the photoplay as written into the script. These scenes were times as they were rehearsed and the director knew the exact footage of each when they were letter perfect. Camera angles, close-ups and all other such necessary details were also perfected during rehearsals. In face, no scene was filmed until the cast and staff knew and could go through the while picture without stopping.

It is even thought that this system of stage rehearsals may develop a means of producing pictures without endless experimentation, cutting, retitling, and otherwise adjusting and changing a picture, processes which often require more time than the actual production of the picture itself.

The rehearsals also applied to the lighting of sets. The electricians were given their cue sheets to memorize by Henrik Sartov, chief cameraman, and all their experiments were carried on during rehearsals.  Directors and stars who have had to wait patiently while the electricians adjusted their carbons and focused their spotlights will appreciate what a godsend is such a method.


“In other words,” declared Directory king Vidor, “We reversed the usual process. Instead of filming the picture and then spending days to cut, edit, and retitle it and so forth, we did all this first by means of the rehearsals. it can save about seventy-five percent of production time when fully perfected.”

It is predicted that Vidor’s example may be generally adopted by all directors. But what measure of success others will attain with his method at first is hard to foretell. Mr. Vidor himself is inclined to be a trifle pessimistic about the instantaneous results that go with that prediction. For, he reasons, the new and old methods are opposed to each other and have been since the inception of motion pictures.

“In the past,” he declares, “stage directors who have turned their efforts to the films have had to forget all of the stage’s mechanics and learn to speak the more technical language of the silent drama.

“Most of our really fine directors are men who have spent years to accumulate what knowledge they have of the intricacies of motion picture making. It has gotten into their blood; it has become second nature to them and will not be dissevered with one fell swoop.

“There are two sides to this method of stage direction when applied to the movies. There is the side on which the director must forget everything he has store up about the motion picture language; and the side on which he must forget all he knows about the stage. Yet he must have the ability to switch from one to the other on a second’s notice.

“In the motion pictures, however, there are men like myself who have had no stage training. To acquire it with a degree of certainty means a study of several years. And therein lies a great danger; Those of my contemporaries who see some semblance of reason in my method might attempt to do what I have done, but without study and thought I have expended on it. In that case I predict certain failure.

“No person can drop a habit of years in a day. Simply a desire to do what I have done will not serve to bring about the deed at will. Therefore, it is necessary that a directory shall first know the stage and screen well enough to call upon either by instinct rather than design.”


About Lillian Gish

It being an infinitely more difficult task to fulfill predictions than make them, the glory of Lillian gish’s ability and fame is essentially her own. And the splendid things predicted for the star when she began her motion picture career with the old Biograph company have been more than supremely fulfilled in “La Boheme.”

Lillian gish was born at Springfield, Ohio, and moved on to Massillon, Ohio where she passed her childhood days with her sister, Dorothy.

At the completion of her education, while still in her teens, Lillian made her stage debut as a fairy in “The Good Little Devil,” produced by David Belasco. Her mother and sister had just gone to California. Her homesickness was accentuated one night whe the wire which permitted her to flit across the stage, snapped, and a sidheartened fairy was hurled to the floor. She burst into tears, and, with her loud boo-hoos, hit a reponsive chord in the audiencd, but almost spoiled the show.

The family was soon reunited and Lillian was well on the way to stage fame, when, one day, while visiting Mary Pickford at the Biograph studiom she met D. W. Griffith. Screen acting fascinate her and she soon became a member of the Biograph stock company, appearing under Griffith’s direction. She played in a wide variety of parts, ranging from the little old moth in “Judith of Bethulia” to colonel Cameron’s sweetheart in “The Birth of a Nation.”

When Griffith left the Biograph fold, Miss Gish followed him through his engagements with Reliance, majestic, Fine Arts, Artcraft, First National and United Artists.

An Overworked, Wilted Flower


She impersonated the mother at the cradle in “Intolerance” and the outcast girl in “Way Down East.” She appeared in such pictures as “Souls Triumphant, “Hearts of the World,” “The Great Love,” “The Greatest Thing in Live,” “Romance of Happy Valley, “True Heart Susie,” and “The Greatest Question.” She directed “Remodelling Her Husband,” one of her sister Dorothy’s pictures, and later returned to stardom in “The White Sister” and “Romola.”

Miss Gish is now under contract to star in Metro-Goldwyn-Mayer pictures, the first of which is “La Boheme.” This will be followed by “The Scarlet Letter,” taken from the Hawthorne classic.


The Origin of “La Boheme”

THE first among the French novelists and poets to make attractive to his readers the irresponsible life of artists and students of the Paris Quartier Latin was Henri Murger.

Born in Paris on March 24, 1822, Murger started a glamorous writing career at the age of twenty-six. His first novel, “Scene de la vie de Boheme” was published in 1848. This was followed by “Scenes de la vie de jeunesse” in 1851, “Les buyeurs d’eau in 1854, “Madame Olympe” in 1859 and other prose tale of perhaps lesser import. The poems, “Les nuits d’hiver,” came in 1861.

In 1849, one year after the publication of his first great work, Murger collaborated with Theodore Barriere in the dramatization of “Scenes de la vie de Boheme.” The stage version was known by the briefer title of “La vie de Boheme and proved a tremendous success when first performed at the Theatre des Varieties in Paris.

Nearly half a century later the popularity of the novel, and especially the play based on it, persisted wherever French was spoken, read or translated. And in Turin, Italy, on February 1, 1896, was produced the first opera version by Giacomo puccini. As an opera it was based on the dramatization, “La vie de Boheme,” and assumed the still briefer title of “La Boheme.” Those who collaborated on the libretto for the opera were G. Giacosa and L. Illica.

Still another composer paid musical tribute to it by converting it into an opera. For a little more than a year later, on May 5, 1897, Ruggiero leoncavallo’s version was sung in Venice. But it was Puccini’s “La Bohee” that first came to the United States. it was performed in New York on May 16, 1898.

The motion picture version, however, is an original treatment by Fred De Gresac, bases on a collection of short stories from the pen of Henri murger which were called “Life in the Latin Quarter.” The principal characters and the important episodes which give to”La Boheme the life which has since passed otu of its original title, have, of course, been retained and highly intensified, thanks to Fred De Gresac and also Ray Doyle and harry Behn, who wrote the continuity.

Literature owes to Henri Murger the word “Bohemia,” a word which signifies a moral condition rather than a geographical spot — a word which can describe the follies of student days and the unconventional, informal life of highly emotional persons.

And to Henri Murger a large picture-going world, no doubt, owes its gratiitude for an imperishable love story.

Speaking of Great Stars

Annex - Gilbert, John_01

JOHN GILBERT — Soldier and Sailor, too — as Kipling sand of the Marine — John Gilbert, author, director, rubber salesman, actor, and star of three great pictures, “The Big Parade,” “The Merry Widow,” and “La Boheme,” in which he is co-starred with Lillian Gish.

Gilbert’s career is as variegated as it is interesting. He has gotten more into a few brief years of life than perhaps any celebrity on the screen.

For John Gilbert believes in learning thing thoroughly if he starts at it — and so he follows through. That’s why when he started work in a rubber concern years ago he didn’t quit until he’d learned the whole business, and was drawing a good salary as a sales executive. That’s why when the chance came to learn film direction he went the whole hog. He did more than become a director — he became a good director.

Finally, when he definitely decided to become an actor, he made history. For he massed all his experiences into one conglomerate while, and proved to be a screen artist of such brilliancy that his dawn on the screen horizon was almost the advent of a meteor.

Gilbert was born in Logan, Utah, the son of ida Claire Gilbert, a noted stage star of the time. His mother’s work kept her traveling, so as the boy became of school age, he was given his education, a few days at a time, in the schools of cities in which his mother happened to play. In his early teens he toured the Northwest with Eddie Foy’s stock eompany. Sometimes a stock engagement enabled him to spend several months in the same school. But that was rare. Finally, to complete his high-school studies, he was sent to the hitcock military academy at San Rafael, near San Francisco, where he received the most systematic schooling in his hurried education.

On his graduation from the academy he decided not to follow his mother’s career, and so took a position with a well-known robber company in San Francisco. But the Fates decreed othewise, which was good judgment and for which we may be thankful.

Annex - Adoree, Renee_01S

RENEE ADOREE has appeared in numerous Metro-Goldwyn-Mayer productions, among them “The Eternal Struggle,” “Women Who Give,” “The Bandelero,” “Excuse Me,” Elinor Glyn’s “Man and Maid,” and more recently in “The Big Parade,” “Exchange of Wives” and “The Black Bird.”

She came to American from the French stage three years ago, and being extremely anxious to enter motion pictures, she applied at the Fox studios. She was such an admirable subject for the films, and her talents and experience left themselves so well to the art of pantimime that she was engage to appear in “The Strongest,” a story built around the life of Georges Clemenceau.

Miss Adoree was brought to M-G-M by Louis B. Mayer at the time of the film merger less than two years ago. She had appeared in several films at that time, and was attracting favorable attention.

She is the daughter of a French traveling circus performer and was appearing in the saw dust ring at Brussels, Belgium at the time of the German invasion. Escaping in a box car she went to England and then came to America.

Part of “La Boheme’s” Who’s Who


TURNING from short stories to scenario writing, King Vidor wrote something like fifty-two failures before organizing a small motion picture company in Texas, in order to get one of his scripts produced.

He played the leading male role himself and also directed it, and although no one lost any money, the producers in Hollywood failed to besiege him with diamond-studded contracts.

Instead of going direct to Hollywood he visited Santa Monica first and offered his services to the General Film Company. He wrote and directed five screen stories there before he made his definite choice of directing as a career. Realizing that his experience was not sufficient to qualify him as a fist-class director, he undertook to familiarize himself with the technical part of studio work. He became a studio carpenter, and, in succession, property man, electrician, assistant camera-man and first camera-man. When again he took up the megaphone, he was in a position to handle any situation without feeling uncertainty regarding the execution of some of its details.

Among the pictures which give strong evidence of his training are “The Turn in the Road,” “The Jack-Knife Man,” “The Sky Pilot,” “Peg O’ My Heart,” “Proud Flesh,” and “The Woman of Bronze.” His penultimate work for Metro-Goldwyn-mayer was the inspired “The Big Parade,” from the story by Lawrence Stallings.

King Vidor was born in Galveston, Texas, thirty years ago. he was educated there and in San Antonio, where he atteneed the peacock military Academy. The Tome School at Port Deposit, Maryland, also claims him as one of its celebrated pupils.


THE distinction of being the oldest actor on the screen goes without contest to Frank Currier, who plays the humble part of the theatre manager in “La Boheme.”

When he was only three years old his mother introduce dhim to the stage in “Ireland As It Was.” In 1869 he became call boy at the Centennial Theatre in Boston. he did his first “bit” in “Rolla,” which starred Edwin Forrest, the tragedian. During the same year he played in “The Shaughran” with Dion Boucicault at Wallach’s Theatre, New York, and went on the road with the same play. In 1880 he went to leadville, Colo., with a stock company brought from New York and supported financially by Governor Tabor. He has played under 32 stage stars, including Edwin Booth, joseph Jefferson; with leo burgess in “Vim” and the “County Fair,” and with Julia Marlowe for two years. He took the “County Fair” to Australia for 18 months. He played the old organ grinder in New York and Philadelphia with viola Dana in “The Poor Little Rich Girl.” He also went to London with “Way Down East.” His screen career, started in 1913, is almost as varied.

Currier, who is now under contract to Metro-Goldwyn-ayer, appeared last in “Ben-Hur.”


ROY D’ARCY, character actor, made his film debut in “The Merry widow,” for Metro-Goldwyn=mayer, starring Mae murray, and played the Crown prince as his first picture role.

His theatrical training started in his college days in Germany, as a singer, and he has appeared in various musical comedy roles, as the tenor singing lead in Shubert reviews, in Earl Carroll’s Vanities, as leading man for Morosco in the East, in the “Oh Boy” company, and with Peggy Wood in “The Clinging Vine” in Los Angeles.

Although he was born in San Francisco, D’Arcy was educated abroad in several universities in Germany and England. He is related to the famous Carl Gutzkow, the German playwright and Socialist; and to henry russ, an early settler and one of the founders of San Francisco.

He has spent twelve years of his life in Europe, at Berlin, Leipsic, Vienna, Paris; and has also lived in South America and San Francisco.


WHEN Metro-Goldwyn-Mayer needed an actor to play Schaunard in “La Boheme” they telegraphed to New York for George Hassell.

There is nothing disparaging in that statement. There may be actors in Hollywood who are just as good as George hassell, and some who consider themselves better. But at that time there was none better qualified for the role of the fat, almost lumbering Schaunard.

George Hassell

And so George Hassell, upon receipt of the telegram from the M-G-M casting director, withdrew from the cast of a prominent New York stage play in which he happened to be appearing at the time and journeyed to Culver City to do honor to “La Boheme.”

FOLLOWING his excellent characterization of “Slim” in “The Big Parade,” Karl Dane was signed to a long-term contract by the Metro-Goldwyn-Mayer studios.

Dane was born in Copenhagen and has been in the theatrical business since he was a boy. His father was connected with the theatre, and Karl was everything from call and curtain boy to the baby in his father’s productions.

He made his first picture in 1917, “My Four Years in Germany,” which at that time was a sensation. He then appeared in vaudeville until 1920, when he deserted the theatrical world for contracting work until about eight months ago. His first big opportunity came, however, under the direction of King Vidor in “The Big Parade,” which at the present time is regarded as the greatest war picture ever made. Dane’s first part under his new Metro-Goldwyn-Mayer contract is in Hobert Henley’s “Free Lips.”

COLLINE, without whom “La Boheme” would be incomplete, is played by Edward Everett horton, who will no doubt be remembered also for his excellent performance in the picturization of “The Beggar on Horseback.”

When he is not appearing before the camera he is to be seen playing on the stages of Los Angeles. In fact, he is the creator of the leading role in “The Nervous Wreck,” which was first tried out on the west coast, and several other big roles. In short, when there is good stage acting to be done in Los Angeles they call upon Horton.

And when he is not appearing on the stage, Horton goes in for fine screen comedy, with which he has become identified in the past two years.


The Necessary Knowledge

QUAINT old drawings culled from notebooks of artists who in their youthful days studied in Paris, queer sketches of the nooks and crannies of the Latin Quarter and many rare examples of the work of artists now very celebrated, were collected to produce the famous Parisian haunt of the genius in embryo for “La Boheme.”

Not in years has such painstaking research work been conducted in behalf of any photoplay. Fred De Gresac, adaptor for the immortal story by Henri Murger, herself familiar with every corner of the Quartier Latin, as it is called, is largely responsible for the atmospheric details. it was under her guidance that the technical experts of the Metro-Goldwyn-Mayer studios combed the nation’s highways and byways of art for the important material.

Not only were the settings made from the odd sketches of former art students, but the sketches on the walls — one of the traditional features of the Montmartre apartments — were the practice drawings of actual art students, the early and promising handiwork of masters.

Some of the material reproduced in the photoplay was submitted Howard Chandler Christy, who also contributed much valuable technical information during a visit to the M-G-M studio concurrent with the filming of the production. Old sketches by a number of well-known American artists were borrowed mostly through his aid and information.

Perhaps the most interesting revelations about sketches of the Quartier Latin came from the pages of George Du Maurier, himself an artist as well as an author. In his memorable “Trilby” Du Maurier describes at length the revels of the art studens, their interesting habit of drawing on the walls and other details of life in the Parisian Bohemia.

Then, too, Fred De Gresac obtained from friends in France copies of a nuber of these wall drawings. It is the custom in the Quartier latin never to erase the drawings students place on the walls, and the superstition among the art students goes that fame can never come to any of them who has not left a sample of his early style on the studio walls.

In one apartment in Paris, says De Gresac, can be found sketches by the great Rosa Bonheur which she made in her student days. And on the same wall, drawn some twenty years later, and sketches by Elizabeth Strong, one of her most noted pupils. Where generations of artists may be traced on these walls.

Howard Changler Christy admits having made many of these drawings while in paris, but for the life of him he can’t remember the addresses of his early creations. The apartment owners, however, always remember. They have the history of every artist and are always ready to recite them to eager tourists and new students, with whom they use them as great selling points when renting the apartments.

A Montmartre street of the “La Boheme” period was reproduced from an old sketch said to have been made in his youth by Chase, the great Aerican artist. One of Jules Page’s old sketches furnished the inspiration for the scene of Rodolphe’s studio, and an attic bedreoom is from the early work of the same artist.

So, in the case of “La Boheme” at least, it might be said that the technicians paid strict attention to the handwriting on the wall.

This, incidentally, brings to mind the fact that the Metro-Goldwyn-Mayer studio has established and maintains at at great cost to a special biographical department. In it may be found the handiwork and mementoes of hundreds of noted personages of the past and present, who have at one time or another been recorded in fiction or history.

For in these days of motion picture exactitude the Metro-Goldwyn-Mayer company never knows whose life it may be called upon next to give a faithful record of in its films. This department, therefore, buys up and store away rare objects created by the great and near-great. It has enough property in it now to found a fair-sized art museum.


Did You Know That —

FOR the filming of the theatre scenes of “La Boheme” the Metro-Goldwyn-Mayer company placed under contract Ernets Belcher, famous ballet master. Belcher trained the ballet corps especially engaged for the production.

Catherine Vidor, sister of Director King Vidor, makes her debut as a motion picture actress in “La Boheme, playing the role of Phemie. Brother King made things as difficult for her as possible in order to show her that motion picture acting is not the easiest thing in the world. Catherine got her part through the casting director and has since convinced her famous brother that she need not depend on “pull” to win recognition in the movies.

An elaborate musical score was compiled for “La Boheme” while it was being filmed scene by scene. Several musicians worked on the sets along with the company, interpreting every facial and physical movement of the players into musical terms. Thus every bit of pantomime has its musical counterpart.

Charles hackett, Metropolitan Opera tenor, spent a good deal of time with John Gilbert and the “La Boheme” company at the Metro-Goldwyn-Mayer studios inCulver city, Calif. Hackett, who has sung the role of Rudolphe numerous times, revealed a few of the tricks commonly used by tenors to make Rodolphe the most popular character in lyric drama.

Rosa Bonheur, the world’s freatest painter of horses; Guy De Maupassant, France’s most brilliant teller of tales; Charles Beaudelaire, who astounded the world with his poems, and Sarah Bernhardt, who became the world’s greatest tregedienne, are all portrayed on the screen for the first time in “La Boheme.” There are all seen in the cafe groups in which Mimi and Rodolphe mingle with other struggling artists who later became famous. It is a daring rouch and absolutely according to history.

Henrik Sartov, the photographer of “La Boheme,” is the man responsible for all the beautiful photographic effect (sic) in many of the past D. W. Griffith pictures. He is the favorite photographer of Lillian Gish.

Sunlight in France is orange-colored and in California it has a blue tinge. That is why special light filters and analyzers had to be constructed to film “La Boheme” and give it that “Frenchy” tint so peculiar to the locale of the story.

All the Mimis of the past have been brunettes, but Lillian gish defied tradition by not covering her own fair head with a brunette wig. The movie Mimi is, therefore, a blonde Mimi.

Mme. Fred De Gresac, who is sometimes known by the masculine nom do plume of just Fred De Gresac has herself written more than thirty plays, among them vehicles for the late Rejane, Duse and marie Tempest.

The proper pronunciation of “La Boheme” will no doubt puzzle a number of picture-goers. Our own lexicographer announces that there are some who pronounce it as if the last syllable rhymed with “dreamy,” and some who pronounce it as if it rhymed with “gem.” But the correct way, says he, is to sound the last syllable as if it rhymed with “name.” “La Boheme” is the name.

Lillian Gish’s next production, her second for Metro-Goldwyn-Mayer, will be “The Scarlet Letter,” taken from the Nathaniel Hawthorne classic.

And John Gilbert’s next photoplay will be based on Rafael Sabatini’s “Bardleys the Magnificent,” with King Vidor at the directorial helm again.


Musical Director

A Metro-Goldwyn-Mayer PICTURE

This book sold only in theatres showing “La Boheme.” It may be purchased in quantity from AL GREENSTONE, 1547 Broadway, N.Y.

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La Boheme Program Book NY

I was friendly with Lillian Gish, too, when she was a big star at MGM. I remember when [King] Vidor was making “La Boheme” with Lillian and Jack Gilbert, she came up to Vidor’s house one Sunday morning. She wanted to play a scene a certain way and Vidor wanted her to play it another way. She wanted it her way so she came up to the house by herself and offered Vidor a great big beautiful red polished apple as a peace offering.

  • From the interview with Eleanor Boardman in “Speaking of Silents: First Ladies of the Screen” by William M. Drew, Vestal Press, 1989 (page 48)

  I wanted to be an actress from the time I was born, I guess, and I loved the movies. I remember getting into hysterics watching Lillian Gish running around looking for her lover all over France in “La Boheme.” I wasn’t crying. I was having hysterics. When it was all over and I went to get up, my foot had fallen asleep and I almost fell on my face. I thought, “Oh, I hope people don’t think I’ve been drinking or something.” I was only fifteen, you know. I couldn’t get my leg working but I finally got up. That’s the way she affected me. Oh, she was marvelous in this thing.

  • From the interview with Anita Page in “At the Center of the Frame: Leading Ladies of the Twenties and Thirties” by William M. Drew, Vestal Press, 1999 (Page 152)

Kindly access the link below to download the PDF version

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The Wind – Movie Herald (advertising)

“The Wind”

Produced by Metro-Goldwyn-Mayer

Directed by Victor Seastrom

Lillian Gish – The Wind 1928 – Movie Herald

The Cast:

  • Letty ……………..…………… Lillian Gish
  • Lige ………………….……… Lars Hanson
  • Roddy ………………… Montague Love
  • Cora ……………… Dorothy Cummings
  • Beverly …………….…….. Edward Earle
  • Sourdough .….… William Orlamond
Lillian Gish – The Wind 1928 – Movie Herald


The wretched conditions of sand, wind, and drought that characterized the Sundown location were brilliantly evoked in bleak, Scandinavian style by Victor Seastrom in MGM’s The Wind (1927, released 1928). Although more of a psychological than a realistic study, and more impressionistic than documentary in its treatment, The Wind is filled with remarkably expressive detail. For an utterly unromantic view of life on the desert, this film is unequaled.

Lillian Gish – The Wind 1928 – Movie Herald

Though the interiors were shot at the MGM studios, Seastrom took the company to the Mojave Desert for exteriors. Katherine Albert, reporting for Motion Picture Magazine, followed them out there, and quickly regretted it. She had to drive one hundred fifteen miles to the town of Mojave, where the company made their headquarters at the country hotel. “To reach the location, one had to drive over awful dirt roads into the sweltering heat-the thermometer was never lower than one hundred and fifteen degrees all the time the company was on location-into the blinding sun, the bleak, barren waste that is the Mojave Desert. That anyone could be active in that scorching heat is almost inconceivable. Yet there were cameras, generators and other studio equipment planted in the broad expanse of wasteland.

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Savage Haiti of ‘Papa Doc’ Upstages Characterization in ‘Comedians’ – By Clifford Terry (Chicago Tribune 1967)

Chicago Tribune – Tuesday November 14, 1967 – Page 37

  • Savage Haiti of ‘Papa Doc’ Upstages Characterization in ‘Comedians’
  • By Clifford Terry
The Comedians 1967 lobby card

The savage stage upon which “The Comedians” strut and fret their pathetic parts is the island of Haiti, that harbor of hate stuck in the middle of Tourist Land and dominated by the sound and fury of “Papa Doc” Duvalier.

Elizabeth Taylor and Peter Ustinov in The Comedians 1967

Onto this set have been built the props, cemented in power and poverty: political purges, dungeons, blackouts, firing-squad reprisals, intimidation and murder, and 5,000 sunglass-concealed, strong-arm sadists known as the Tonton, the Carribean counterpart of the Gestapo. From offstage obscurity, enter the personae, fitted with the simplest of names, unknowingly cast as charade cogs absurdly and pitifully floundering in the midst of games tyrant play: Brown [Richard Burton], the wry, witty owner of a hand-me-down hotel in Port-au-Prince and an outspoken Duvalier detractor; Martha [Elizabeth Taylor], Brown’s lover and wife of a weak-willed diplomat [Peter Ustinov]; Jones [Alec Guiness], a shifty –British munitions profiteer who thrives on nostalgic war stories about how he won the Burma campaign; and Smith [Paul Ford], a candidate in the 1948 American Presidential election [on the Vegetarian ticket], and his surprisingly spunky wife [Lillian Gish].

Paul Ford and Lillian Gish – Still frame from ‘The Comedians’ 1967

As the film progresses, it becomes evident that circumstance has upstaged characterization [in spite of some rather tidily-packaged soul-searching], as Novelist-Script-Writer Graham Greene calls upon blood and brutality, violence and voodoo, to powerfully portray what’s up with Papa Doc.

Peter Glenville – The Comedians 1967

Altho dragging a bit in its last laps, the two-and-one-half-hour “Comedians” nonetheless is a good, solid film, showing the best side of Director Peter Glenville [“Becket”], who has erased the bad taste of his last attempt “Hotel Paradiso.” While the entire cast give fine performances, honors belong to Burton, who keeps on top of the most important role – the apparently strong, unbending Englishman who really is as insecure as his fellow fumblers, whose words about “no faith in faith” give way to reluctant action as he leads a quixotic coup against the despots.

Elizabeth Taylor and Richard Burton on set – The Comedians 1967

Looking remarkably lovely and svelte [especially after her broad-beamed shots in “Virginia Woolf” and “Reflections in a Golden Eye”], and speaking with some kind of an accent which turns out to be German, Miss Taylor does quite well in spite of a part that is closer in challenge to “The V.I.P.’s” than her latest roles.

The Comedians 1967 poster MGM one sheet

As the Babbitty business man, Guiness is an excellent, transcending one of those illusion-into-reality character changes that has become extremely overworked. And in a bit of offbeat casting, Ustinov is remarkably weak and sensitive in portraying the cuckold’s laissez-faire lethargy.

Lillian Gish in “The Comedians” – Photo Gallery

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