The Lily and The Rose – Reviewed by Neil G. Caward (Motography 1915)

MOTOGRAPHY November 20, 1915.

Some Current Releases Reviewed

The Current Triangle Bill

This Week’s Offerings From Ince and Griffith Studios

Reviewed by Neil G. Caward

Over at the Studebaker theater this week Manager Knill is offering his patrons a program of Triangle films that, as a whole, surpasses any week’s bill up to date. It includes “Aloha Oe” from the Ince studios, “The Lily and the Rose” from the Griffith forces and two Keystone side splitters entitled “A Janitor’s Wife’s Temptation” and “The Village Scandal.” The laughs begin at about the second sub-title of “A Janitor’s Wife’s Temptation” and come thick and fast from then on. Fred Mace as the janitor of an apartment house has a role that’s just to his liking, and the things he does and the way he does them beggar description. Marta Golden as the janitor’s wife has troubles of her own, and Harry Gribbon, as the artist who lives on the floor above, proves himself a clever dodger of both his landlord and his bills. The final scenes in the restaurant, when Mace is bouncing about like a rubber ball in the fountain, are guaranteed to cure the worst grouch that ever attacked a man. Del Henderson is responsible for the production.

The Lily and The Rose (1915) - Lillian Gish
The Lily and The Rose (1915) – Lillian Gish

The Lily and The Rose – Reviewed by Neil G. Caward

Lillian Gish and Rozsika Dolly are the featured personages in “The Lily and the Rose” and rightfully so, for it is about them that the story centers. Paul Powell is given credit for the direction of the piece and the story is most carefully developed from the opening scene up to the tragic climax which brings it to an end. Mary Randolph is a most innocent, and, as the boy who loves her says, “adorable” Lily, as interpreted by Lillian Gish, and one can scarcely blame Jack Van Norman, played in a dignified fashion by Wilfred Lucas, for falling in love with her.

The Lily and The Rose (1915) - Lillian Gish
The Lily and The Rose (1915) – Lillian Gish

That the Lily ever became so sophisticated as she finally grows to be seems wonderful when you behold Miss Letty Carrington and Miss Molly Carrington, her maiden aunts, who were responsible for her bringing up. Loyola O’Connor and Cora Drew each have a chance for some wonderful character “bits” in these two roles and Elmer Clifton is equally convincing as Allison Edwards, a bookworm who lives next door to the Lily. To Rozsika Dolly, recruited from the musical comedy stage, falls the interpretation of the Rose, and she plays it masterfully.

The Lily and The Rose (1915) - Lillian Gish
The Lily and The Rose (1915) – Lillian Gish

In the wonderfully tinted scenes at the seashore, where she dances on the beach for Jack, Miss Dolly was particularly good, and, while proving her ability to dance, in the theater scenes, she demonstrated also that she can get over an emotional scene by the way she acted upon discovering Jack’s suicide. Mary Randolph, raised from childhood by two maiden aunts, and loved by Allison Edwards, who lives next door, one day meets and is wooed by Jack Van Norman from the city. She later becomes his wife, only to learn that, in secret, he is paying attention to the Rose, a dancer in musical comedy. Leaving him, Mary returns to the home of her childhood, where a child is soon afterwards born to her. Jack goes to Rose, but later, in his absence from the city, the dancer entertains other men and is discovered. Jack ends his misery in suicide, and Mary, months later, finds happiness at last with Allison Edwards, who is still faithful. (Neil G. Caward – 1915)

The Lily and The Rose (1915) - Lillian Gish
The Lily and The Rose (1915) – Lillian Gish

Directed by Paul Powell

Writing Credits (in alphabetical order) D.W. Griffith…(story) (as Granville Warwick)

Cast (in credits order)

Lillian Gish Mary Randolph Wilfred Lucas Jack Van Norman Rosie Dolly Rose (as Rozsika Dolly) Loyola O’Connor Letty Carrington Cora Drew Molly Carrington Elmer Clifton Allison Edwards Mary Alden Mrs. Fairfax William Hinckley Ted Lamb Rest of cast listed alphabetically: Alberta Lee Undetermined role (uncredited) Frank Mills Undetermined role (uncredited) Starring: (Dorothy and Lillian Gish by Lillian Gish) – Lillian Gish – Mary Alden – Wilfred Lucas – Rozsika Dolly

The Lily and The Rose (1915) - Lillian Gish
The Lily and The Rose (1915) – Lillian Gish
Motography 1915 - The Lily and The Rose
Motography 1915 – The Lily and The Rose

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Lillian Gish in “The White Sister” – The Film Daily – September 9, 1923

The Film Daily – September 9, 1923

Reviews of the Newest Features

Lillian Gish in “The White Sister”

Producer: Inspiration Pictures

Distributor: Not yet determined

The White Sister
The White Sister

As a Whole…. ANOTHER MAGNIFICENT PRODUCTION:

WHETHER A GREAT PICTURE AT THE BOX OFFICE TO BE DETERMINED TRAGIC END MAY ALSO HAVE ITS EFFECT.

Players

What a magnificent performance Lillian Gish gives! Sincerity and repression dominate. Ronald Colman, a new leading man, will be in demand after this. Long cast of excellent players includes J. Barney Sherry and Gail Kane.

The White Sister
The White Sister

Type of Story

Tragic, inasmuch as all important characters, excepting heroine, die at finish. Beautiful romance of young girl taking the veil when she believes her fiancee dead, only to find him alive when she cannot marry him because of her vows to the church. In the end he dies during an eruption of Vesuvius, while warning the people of their danger.

The White Sister
The White Sister

Box Office Angle

Gorgeously mounted; magnificent in construction; a tremendous lot of money spent—one sees it—ranking this as one of the greatest pictures ever made, with Miss Gish giving an outstandingly notable performance, still you had better see this before you book it. The chief reason that you must see it is that it contains material which may provoke much discussion relative to the Catholic church; the taking of the vow and the resultant problem faced by the lovers. There are several titles and sequences, which, if not removed, will certainly provoke much discussion on this point. Exploitation Vast material is at your hand to put this one over. First, you have the name of the star who has not appeared since “Orphans of the Storm,” and who has a big fan clientele. Tell them she does the finest work of her long and meritorious career. Then you have the name of Henry King, and remind them he made “Tol’able David” and other successes. Get a trailer showing the eruption of Vesuvius; the death of the older sister by being dashed from a carriage when the horses bolt; the fox hunt—they are all fine sequences and should easily bring them back.

Direction by

Henry King; has done a magnificent piece of work. Places him among the very leaders.

  • Author F. Marion Crawford
  • Scenario by… George V. Hobart and others
  • Cameraman Roy Overbaugh
  • Photography …. Some interior shots cloudy. Otherwise good.
  • Locale Italian exteriors and interiors. Both magnificent — and real.
  • Length About 13,000 feet; will be cut for general distribution.

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Silver Nitrate White Sister Lobby Card Negative
White Sister Lobby Card (Inspiration Pictures)

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“A House Built Upon the Sand” MOTOGRAPHY, Jan. 13, 1917

MOTOGRAPHY Vol. XVII, No. 2, January 13, 1917

Five-Part Triangle-Fine Arts Offering – Features Lillian Gish.

Reviewed by George W. Graves

A House Built Upon Sand

“A House Built Upon the Sand”

Using the metaphor in title above, it would seem to us that; the producers of this picture had decidedly built a house “upon the sand” when they constructed this photodrama on the flimsy story material they had in hand. The story of this picture doesn’t convince one of very much, in fact, it doesn’t give him any sensation one way or the other. The story is practically lacking in unity of plot and action. The best thing it does is keep Lillian Gish before the camera a large part of the time — which thing is very fortunate, for Miss Gish is always good and offer a few bits of comedy.

A House Built Upon Sand

Evelyn Dare, a spoiled society girl, recently married, is forced by her husband to live in a cheap house and wear plain clothes. David, the husband, is interested in sociology, and has made his home among the factory people, although he is really a man of means. It takes Evelyn some time to get over her peevishness, but when she is about to forgive him her mind is poisoned against her husband by a man who wishes to avenge himself, so husband and wife are again at odds. But David rescues his enemy from a burning building and so causes the enemy to change into a friend. The latter then goes to Evelyn, tells her what a deceiver he has been, and a reconciliation of man and wife follows.

A House Built Upon Sand

The picture is very well acted, both Roy Stuart and William H. Brown, the two most prominent in Miss Gish’s support, being as convincing as they are splendid types. One “stunt” fell to the director, Edward Morrisey, that of staging the rescue from the burning house. There was a medium-sized thrill to this. Although “A House Built Upon the Sand” may please some of the less particular people because of its good characterizations and some bits of humor, the picture certainly does not rank with the kind of films we are used to seeing under the Fine Arts banner.

A House Built Upon Sand

The House Built Upon Sand (1916)

1917 – according to Dorothy and Lillian Gish

  • Director: Edward Morrissey
  • Writer: Mary H. O’Connor (story)
  • Stars: Lillian Gish, Roy Stewart, William H. Brown

Credited cast:

  • Lillian Gish … Evelyn Dare
  • Roy Stewart … David Westebrooke
  • William H. Brown … Samuel Stevens
  • Bessie Buskirk … Josie
  • Jack Brammall … Ted
  • Josephine Crowell … Mrs. Shockley
  • Kate Bruce … David’s Housekeeper
Motography (Jan-1917) House Built Upon Sand
Motography (Jan-1917) House Built Upon Sand

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The Screen’s Foremost Artist – Motion Picture News (1927)

Lillian Gish

The Screen’s Foremost Artist

To question the dramatic talent of Lillian Gish would be akin to questioning the beauty of Caruso’s voice. Among performers on the screen she is truly set apart — always the artist — a star that reaches greatness with a gesture, tragedy with an enigmatic smile.

German postcard by Ross-Verlag, no. 19801, 1927-1928. Photo Metro-Goldwyn Mayer FaNaMet. Publicity still for Annie Laurie (John S. Robertson, 1927).

Metro-Goldwyn-Mayer features her because she is great. One would be hard put to it to name a player who has glorified more outstanding successes or one who more rightly deserves the title ot “first lady of the screen.”

ANNIE LAURIE, Lillian Gish, Norman Kerry, 1927 e4 — with Norman Kerry.

From “The Birth of a Nation” to “Annie Laurie,” Miss Gish has ever graced the boards as an attraction ot high quality and an entertainment name worthy of double or treble the customary admission charge.

Annie Laurie crop1b

The first M-G-M production starring Miss Gish in 1927-1928 is “Annie Laurie,” a gay, colorful photoplay that ranges all moods and emotions. It is—confidentialy -a rather different type ot Lillian Gish vehicle. For one thing it is pitched in a key of merriment, and while it ranges to a strong, rugged climax, it might well be classified as a story that touches the sunny, rather than the seamy, side ot life.

Motion Picture News (Apr – Jul 1927)

 

Motion Picture News (Apr - Jul 1927)
Motion Picture News (Apr – Jul 1927)

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“ROMOLA” by Albert Bigelow Paine – 1932

Lillian Gish and director Henry King - Romola candid on set

“ROMOLA” Albert Bigelow Paine – 1932

Reports from “The White Sister” showed that it was going to make record runs—that returns from it would be very large. Catholics and Protestants alike approved it. Father Duffy, of the Fighting Irish 69th Regiment, of New York, wrote:

I wish to nominate “The White Sister” for a high place on the White List of dramatic performances…. It is religion struggling with human passions, as in real life, and gaining its victory after storm and stress. Chicago society deserted the opera on the opening night of “The White Sister,” and similar reports came from elsewhere. Lillian’s personal tribute—her “fan” mail—assumed mountainous proportions: offers of engagements, protection, marriage, requests for loans… what not?

Vanity Fair Nov 1923 - Lillian Gish Romola
Vanity Fair Nov 1923 – Lillian Gish Romola

Meantime, one must get on with the next picture. King was already in Italy, making a pirate ship scene. Lillian finished cutting down “The White Sister,” for road use, an arduous, delicate work, and with Mrs. Kratsch, sailed in November. Dorothy was to be in “Romola,” and with her mother had sailed a little earlier. To Genoa, then Florence, where they put up at the Grand Hotel on the Arno, with an outlook on the Ponte Vecchio, all that the heart could desire, if the weather had only been a little more encouraging. It began to rain, and it continued to rain—“about nineteen days out of twenty,” Dorothy said. Dorothy thought the rain not very wet rain—not at all like English and American rain—not so solid—light, like ether. But one evening, the rain stopped, and when they woke in the night, there was a strange silence. In the morning, there was another sound—also strange—strangely familiar. Dorothy looked over at Lillian.

Lillian Gish - Romola
Lillian Gish – Romola

“If we were in America, I should say they were shoveling snow.” They hopped out of bed, and to the window. It was shoveling, and it was snow. “Very unusual,” they were assured later. But then, winters in Southern Europe quite often are unusual. Even sunshiny ones. The picture of “Romola” follows the main incidents of George Eliot’s novel. Lillian, of course, had the part of Romola, Dorothy that of Tessa, Ronald Colman that of Carlo Bucelline. To William H. Powell was assigned the part of Tito; Herbert Grimwood was given the part of Savonarola, and looked so much like him that when he walked along the streets of Florence, children would point him out. Altogether, the cast was a fine one. They had expected to use a number of real scenes in Florence—the Duomo, the Piazza Signoria, etc., but found that modern innovations—telegraph wires and poles, street car tracks, and the like—made this impracticable. On their big lot in the outskirts of the city, they built an ancient Florence, a very beautiful Florence, of the days of Savonarola. They did use the Ponte Vecchio, the ancient bridge, though a second story had been added a generation later than the period of their picture.

Lillian Gish - Romola

And they used the Arno in several scenes. Rain or no rain, their lot became a busy place. They brought the “White Sister” equipment from Rome, and a small army of artisans and laborers began to work wonders. In a brief time, a quaint old street sprang up—along it shops of every sort, just as they might have been four hundred years before … real shops, in which were made every variety of paraphernalia required for the picture: costumes, harness, basketry, hats, footwear, furniture—everything needed to restore the semblance of a dead generation. They even set up a little restaurant, and ate their luncheons there. Animals—dogs and cats—walked about, or slept in the sun. Flocks of pigeons were in the air, or on the house-tops. During the brief visit of the year before, they had asked that these be raised on the lot. It was all realistic, and lovely. Wood-carvers were at work on the rich interiors, some of them more beautiful, even, than those of “The White Sister”: a great church interior, and a banquet hall, for Romola’s wedding. At one side of the lot were small buildings, where the distinguished artist, Robert Haas, with his staff, worked at the drawings. For the great wedding feast, they could not get period glasses in Florence, so sent a man to Venice, and had them specially blown. Lillian remembers the banquet hall as very rich, exquisite in detail—the scene as a whole, one of peculiar distinction.

Romola Motion Picture Magazine Page Lillian Gish
Romola Motion Picture Magazine Page Lillian Gish

“We had for it a lot of titled people of Florence, who were eager to be in the picture. We had very little trouble to get anything we needed in the way of extras. In some of the scenes, we had hundreds of them. “One thing we did not get so easily: For the wedding, we needed 15th Century priest robes. We heard of some up in the hills, but we could get them only on condition that we engage four detectives to guard them, two by day, two by night. “We had to guard ourselves, for that matter. Florence has many Americans, and they have not much to do. If we had let in all who called, we should have had a perpetual sequence of social events, with very little work. We had many invitations, but could not accept them. I think we went out just once, for dinner. When we had a little time in the afternoon, we liked to go to Doni’s, for tea, or to shop a little, for linens and laces. Whatever of such things we have now, Mother bought that winter In Florence.

“Every night we literally prayed that the next day would dawn clear and bright, so that we might make up our lost time. But no! Maybe, as Dorothy said, the Italian ‘dispenser of weather,’ didn’t understand English.

“One cannot too highly praise the Italian workmen. Over and over, ours would work on a set that it might be the exact replica of a 15th Century design. Italian workmen are willing to be told, and possess an astonishing ambition to do a thing exactly as it should be done.”

Romola - Dorothy Gish and Lillian Gish
Romola – Dorothy Gish and Lillian Gish

They began “shooting” the scenes. They had no regular scenario. They worked, as it were, inspirationally. They did not know very exactly what they were going to do when they began a scene, and they were not quite sure what they had done when they finished it. The element of accident sometimes produces happy results, but it is unsafe to count on it. “Romola” developed into a kind of panorama—a succession of lovely pictures, without very definite climaxes. They worked hard. For one thing, they were experimenting with a new film, the panchromatic, which had never been used for an entire picture, and they did their own developing. One of the chief beauties of “Romola” is the richness of its photography. What with the weather and all, the making of “Romola” was hardly what the French call “gai.” There were lighter moments: In the scene where Dorothy is supposed to drown in the Arno, she tried for an hour to sink in that greasy, unclean river. She couldn’t swim, so it had to be done in shallow water. She didn’t like to pop her head under, either, but they told her if she would fill her lungs with air and hold her breath, there would be no danger. She was plump, and her bones were small. Being filled with air made her still more buoyant. Also, she had on a little silk skirt that got air under it and ballooned on top of the water. Dorothy simply couldn’t drown. When she popped her head under, the little skirt stuck up in a point like the tail of a diving duck. Such an effect would never do for a picture like “Romola.” From their window in the Grand Hotel, Mrs. Gish and Lillian, watching through a glass, laughed hysterically at Dorothy’s efforts to drown. Dorothy finally struck: she could stand no more of the Arno water. The scene was finished one chilly day in America—in Long Island Sound. Dorothy had a cold at the time, and they thought she would contract pneumonia. But that was a poor guess. When she came out of the water, the cold was gone. Clean, salt water, Dorothy said. In the picture, Dorothy, as Tessa, has a baby.

William Powell and Dorothy Gish Romola
William Powell and Dorothy Gish Romola

They borrowed the cook’s baby, the youngest of nine, a fat, robust bambino, strapped to a board, Italian fashion; easy enough to carry, properly held, but not handy for cuddling. Juliana was her name, and as lovely as one of Raphael’s cherubs—lovely, even among Italian children, all of whom have little madonna faces, because for generations expectant mothers have knelt ardently before altars and wayside shrines. Lillian and Dorothy became fond of Juliana, took walks with her, carrying her, board and all—a burden which increased daily as Juliana got fatter and fatter. They wished Juliana would not grow quite so fast; there were scenes where they had to run with her. Italian babies are seldom warm, in winter. One day, Juliana broke out with a rash, which at first they thought was measles, but was only the result of the studio heat, heat from the great Klieg lights. Lillian had a maid named Anna, a large, lovely soul, but a menace. If one got an ache or a pain, Anna came running with an enormous Italian pill, the size of those on the Medici coat-of-arms. After a day at the studio, in the strained “Romola” poses, Lillian once mentioned having a back ache.

Anna commanded her to undress and lie down. A very little later she came bringing a bath towel, and a flat-iron, the latter quite definitely warm. Then, turning the world’s darling face down, she spread the towel on her back and proceeded to iron her. It was drastic, but beneficial. The ironings became a part of the daily program. Anna decided that her mistress needed blood, and cooked for her apples in red wine. They were delicious. “Romola” was finished near the end of May. The last scene was the burning of Savonarola, terribly realistic. Lillian got so near the fire that she was scorched. A few days later they saw the rushes and she was ready to go. The great Italian episode was over. It was unique, and remains so. Big companies do not go on foreign locations any more. They build Italy or any part of the universe on their lots in Hollywood. Lillian in America found that she had been chosen by Sir James Barrie for the picture version of “Peter Pan.” No one could have been better suited to the part, and it greatly appealed to her. But there were complications. Regretfully she put it aside. Pleasant things happened: Dimitri Dirujinski and Boris Lorski modeled busts of her; Nicolai Fechin did her portrait, as Romola. The last was given a special exhibition in the Grand Central Art Galleries, with a reception to Lillian and the artist under the patronage of Cecelia Beaux and New York’s social leaders. It was bought by the Chicago Art Institute and today hangs in the Goodman Theatre of that city.

Poster_-_Romola
Poster_-_Romola

“Romola,” released through the Metro-Goldwyn Company, had two great premières: at the George M. Cohan Theatre, New York, on Monday, December 1st, 1924, and at the Sid Grauman Theatre, Hollywood, on the following Saturday. Lillian and Dorothy, with their mother, managed to attend both. The Los Angeles opening was so much more a part of the “picture” world that we shall skip to it, forthwith.

Lillian Gish, Sid Grauman and Dorothy Gish at The Egyptian
Lillian Gish, Sid Grauman and Dorothy Gish at The Egyptian

It was unique. Manager Grauman had stirred up all Los Angeles and Hollywood over the return of the Gish girls with a new picture. They had anticipated no reception at the train. King was already in Los Angeles; he might be there … a few friends, maybe, not more. But when the train drew in, they noticed a great assembly of expectant people, most of them wearing badges—a rally of some sort, a convention. Lillian and Dorothy stepped to the train platform, and were greeted with a shower of rose-buds, thrown by gay little girls who had baskets of them; a vigorous and competent band struck up; a siren began to blow; everybody shouted and pushed forward; all those badges had on them the word GISH; all the battery of cameras that began to grind was turned on them; the rally was their rally—a welcome—welcome home to Los Angeles. Producers and directors were there. Irving Thalberg, handsome, youthful-looking, pressed forward. Mrs. Gish, thinking him from the hotel, handed him her checks, and a moment later was apologizing. But he said it was all right—he was always being taken for his own office boy. John Gilbert was there, and Norma Shearer, and Eleanor Boardman, and ever so many more. A crowd of students from the Military Academy rallied around; also, a swarm of “bathing beauties” from the Ambassador, and a fire engine came clanging up, for the Fire and Police Departments had been called out. A news notice says:

A squad of motorcycle policemen and fast cars of the Fire Department, made an escort for the automobile provided for Lillian Gish, Dorothy and their mother, through the downtown district. Sirens and bells added to the noise of welcome. Not much like the old days, when with Uncle High Herrick, they had landed with “Her First False Step” at a one-night stand. They drove to the Ambassador Hotel. Mary Pickford had not been at the train, but they found her standing in the middle of their “flower embowered drawing-room”—never more beautiful in all her life, Lillian thought. By and by, Mary, Lillian and Dorothy, motored out to the old Fine Arts Studio, where “The Birth of a Nation” and so many of Griffith’s other pictures, had been made. They found the old place hidden behind a brick building. “Intolerance” had been made there, and “Broken Blossoms.”

Egyptian Theater -1922
Egyptian Theater -1922

Douglas Fairbanks and many others had begun, there, their film careers. They recalled these things as they looked about a little sadly, at what had once been their film home.

Manager Sid Grauman had gone to all the expense and trouble he could think of to make this a record occasion. “Romola” was following Douglas Fairbanks’ “Thief of Bagdad.” It must not fall short.

Lillian Gish - Romola
Lillian Gish – Romola

“A première without a parallel. A night of all nights. The most gala festivity Hollywood has ever known. An opening beside which other far-famed Egyptian premières will pale into insignificance.” These are a few bits of Manager Grauman’s rhetoric, and he added: “Every star, director and producer, will be there to pay homage to Lillian and Dorothy Gish.” They were there. The broad entrance to the Egyptian was a blaze of light and gala dress parade. The crowds massed on both sides to see the greatest of filmland pass. Doug and Mary (who had already run “Romola” in their home theatre), Charlie, Jackie … never mind the list, they were all there. High above, the name of LILLIAN GISH blazed out in tall letters. When she arrived, and Dorothy, and their mother, their cars were fairly mobbed. Cameras were going, everybody had to pause a moment at the entrance for something special in that line.

Lillian Gish, Sid Grauman and Dorothy Gish at The Egyptian
Lillian Gish, Sid Grauman and Dorothy Gish at The Egyptian

Manager Grauman was photographed between the two stars of the evening, properly set off and by no means obliterated, small man though he was, by the resplendent gowns. After which, came the performance. Manager Grauman had fairly laid himself out on an introductory feature. There were ten numbers of it, each more astonishing than the preceding:

Lillian Gish Profile Romola

“Italian Tarantella,” “Harlequin and Columbine,” “The Eighteen Dance Wonders,” but why go on? It was a gorgeous show all in itself. After which, the beautiful processional effects of Romola’s story. There was no lack of enthusiasm in the audience. When the picture ended and the lights went on, and Lillian and Dorothy appeared before the curtain, the applause swelled to very great heights indeed. And when a speech was demanded, Lillian, in her quiet, casual way, said:

“Dear ladies and gentlemen, both Dorothy and I do so hope you have liked ‘Romola.’ If you have, then, dear, kind friends, you have made us very happy, very happy indeed … and you have made Mr. King, who directed ‘Romola,’ very happy, too.”

From the applause that followed, it was clear that there was no question as to the importance of the occasion—all the more so, had they known that, for Hollywood, at least, it was the last public appearance of these two together. The critics did not know what to make of “Romola”—did not quite dare to say what they thought they felt. To William Powell, as Tito, nearly all gave praise; some regretted that Ronald Colman did not have a better part. Dorothy, as Tessa, had given a good account of herself, they said, and Charles Lane, as Baldassare. Of Lillian’s spirituality and acting there was no question, but there were those who thought the part of Romola unequal to her gifts. As to the picture, one ventured to call it “top-heavy,” whatever he meant by that. One had courage enough to think it “a bit dull.” Another declared that it contained all the atmosphere and beauty of the Florence of Lorenzo de Medici. “Romola” was, in fact, exquisite tapestry, and the dramatic interest of tapestry is a mild one.

Life And Lillian Gish

Albert Bigelow Paine

New York, The Macmillan Company – 1932

Lillian Gish admiring Romola portrait by Nicolai Fechin 1930 - French Press
Lillian Gish admiring Romola portrait by Nicolai Fechin cca 1925 (Oil on canvas painting) – French Press HiRes
lillian-gish-gleb-derujinsky-sculpture
Lillian Gish and Gleb Derujinsky’s sculpture – Romola

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We Interview the Two Orphans – Gladys Hall /Adele Whitely Fletcher

The Motion Picture Magazine 1922 – We Interview the Two Orphans

THE CAST

THE TWO ORPHANS

  • Henriette Lillian Gish
  • Louise ; Dorothy Gish
gish-sisters-in-orphans-of-the-storm Picture Show may-1922-part-3
gish-sisters-in-orphans-of-the-storm Picture Show may-1922-part-3

WE

  • First Interviewer Gladys Hall
  • Second Interviewer Adele Whitely Fletcher
Dorothy Gish, James Rennie and Lillian Gish
Dorothy Gish, James Rennie and Lillian Gish

A Husband James Rennie

  • Props include cakes and sandwitches and bon-bons;
  • flowers in pale vases, books by Bernard Shaw and other food, mental and physical.

 

Scene I.

—The softly tinted living-room in the Gish town apartment. The grey  walls are touched here and there, reflectively, with a few good prints. There are low, creampainted book-shelves—shelves that are filled. Intriguing volumes of fiction, old as well as new ; philosophy, travel, and a great deal of poetry. Deeply armed chairs are flanked by end-tables holding shaded lamps or a book which is being read. To one end of the room is a baby-grand. On it stands a bowl of early spring flowers and a portrait of Mrs. Gish with the two girls. Beyond the chintz-framed windows the roof-tops are growing fanciful in the twilight. It is teatime. Gladys Hall and Adele Whitely Fletcher are sitting to together in the recesses of a wide lounge, when Lillian Gish enters. They look up, hearing her soft, light footfalls on the rugs. She is wearing a quaint velvet gown, dull blue. Her corn-silk hair is brushed softly back. There is a wistful note in her voice : the note-you-know-is-there. The hand she offers in greeting is shy and sensitively welcoming. Lillian Gish : Dorothy will be in directly. She just came uptown from the Rennie apartment and is in with mother. Mother has been so ill. you know, and we have had to be out of town so much, attending the different premieres of “The Two Orphans.” Each week it has opened in a different city and together with the travel, it has meant two or three days in every instance. Three days out of a week leaves so little time to do the things one has to do.

Dorothy and Lillian Gish in Orphans of the Storm (United Artists, 1921). Autographed Photo
Dorothy and Lillian Gish in Orphans of the Storm (United Artists, 1921). Autographed Photo

Gladys Hall : Have all of the premieres been as enthusiastic as the New York one was?

A. W. F. {reflectively) : I know they have been. It is a really great picture.

Lillian Gish : There has been a great and general enthusiasm. I think it is the greatest thing Mr. Griffith has ever done.

A.W. F. : Greater than “Broken Blossoms”?

Lillian Gish : “Broken Blossoms” was so different. They are really not comparable. In Orphans of the Storm,” Mr. Griffith has done more than make a beautiful picture. He has made history live again. And no one in the picture was more important than anyone else. The least was the greatest ; a part of a stupendous whole.

orphans of the storm - lillian gish is henriette girard - promo wb

G. H. : Did you like being Henriette ?

Lillian Gish : Yes. Oh, very much. And it was different. I had to get my appeal in a different way than I have done in previous pictures. In “Broken Blossoms,” for instance, and in “Way Down East,” I had physical distress to help me out. My appeal was in a measure made for me. I always had something the matter with me. In one I was a poor, frail, half-living little thing and in the other a down-trodden, stormtossed girl. As Henriette I was well taken care of, beloved by the dashing Chevalier, watched over by Danton. Of course, I had lost my sister, but I was not sure that she was not well cared for, too. I had to make the loss of my sister and my instinctive fear for her overshadow my own personal well-being. That made Henriette a more difficult role than any I have yet played.

[A stir is heard in the hallway. Dorothy Gish Rennie stands there. Her dress is black and old blue, and hangs, cape-fashion, from her shoulders. One suspects Paris. She wears woolen stockings and her brown hair curls gishily about her ears. She advances . . . ]

dorothy gish - as photographed for - dorothy and lillian gish - by lillian gish 48

Dorothy Gish : Aha ! we meet again ! You make me remember the terrifying occasion of my first tea as Mrs. Rennie. Rememberhow nervous I was? Just sure I’d do the wrong thing. The whole family thought I would, too. Only Lillian had the nerve to appear and watch the social structure totter. I was so sure I would make some horrible blunder. In fact, I was sure of everything but the fudge . . . I made that! (To Lillian): Are we to have tea this afternoon? When people are interviewing you, Lillian, (this with deep solemnity), and you invite them at teatime, it is quite the proper thing to have tea ! Wrong again ! Here it is ! [The maid wheels in the tea-wagon. The edibles have been mentioned along with the dramatis personae. Lillian, curled in a chair, pours. Dorothy curls, but does not pour. The doorbell rings—and she starts . . . ]

Dorothy Gish : It is Jim, I know. He can scent teaa million miles away. He never misses it. The onlyfly in the Rennie domestic ointment is the breakfast tea. Jim gets quite cross about it. It is never right, it seems . . . (pensively).

Lillian (gently) : Jimmie should come here for his tea.

Dorothy {accusatively): Madam, are you trying to lure my husband from his fireside with tea? That it should come to this ! And in the family, too!

Dorothy Gish, husb James Rennie and Lillian Gish returning from Italy NY Times 1920

(Lillian smiles her threecornered, whimsical little smile at us, as who should say, “I s n ‘ t she a naughty child?”) [James Rennie, popular leading man of stage and screen, also popular husband of Dorothy Gish, enters. Dorothy, with wifely solicitude, offers him a meager share of her chair, which offer is promptly and also affectionately accepted.]

Lillian : Let me recommend the blonde cookies. Stella made them for us — fresh this

Dorothy {gravely) : Plainly, I must keep my eye on you ! You’ve been sampling them! First my husband . . -.. . and then the cookies!

‘… ,_ Lillian {coolly, smiling): Is your tea right, Jim? There is hot water here . . . sugar? Lemon?

J. R. : Quite right, thanks, Lillian.

Dorothy {with hauteur) : To save my peace of mind, then, you should be present at the Rennie breakfast to fix Jim’s tea.

G. H. {tea-singly) : Being sisters, how did it seem being sisters?

A. W. F. {with professional fraternity) : She means . . .

Dorothy Gish : Odd as it may seem, I get what she means. However—simple. Simple. Not her—but playing sisters. You see, we’ve done it so often, “Hearts of the World,” for instance. And anyway, I love playing with Lillian. Wasn’t she lovely as Henriette ? Will you ever to your dying day forget her love scene with the Chevalier?

G. H. and A. W. F. {in accord for the first time in their lives) : Never! Never in the world.

Lillian Gish {with that lovely little twist to the corners of her month) : Dorothy, do be quiet, dear. Please.

James Rennie {enthused) : And the suspense! That ride of Danton’s …

Dorothy Gish {comfortably ensconced on the arm of her husband’s chair) : Jim first saw the picture in the projection room with Lillian and me, and when they closed the gates before the onrushing Danton he said to me, “Henriette is dead so far as I’m concerned. Here’s where I leave. I cant be tortured any longer !”

Lillian {from behind the tea-cart, slim among the shadows) : You know, Jim and I had to fairly insist upon Dorothy playing Louise. She refused to do it when Mr. Griffith first asked her.

G. H. and A. W. F. {again in unison) : Why? Why’

Dorothy Gish : I felt it was so wonderful a role: that it should have everything that could be given to it. I’d been playing in almost a slapstick tempo, with no previous dramatic training whatsoever. I told Mr. Griffith that I thought I should do two or three dramatic things first, but there wasn’t time. I was terrified—afraid I’d ruin the picture—and, after we started, terrified to see the scenes run oft”. I thought I was terrible

Dorothy Gish - Orphans of the Storm

G. H. (receiving smiles and nods from Lillian and James Rennie) : You may say that now. We have seen. What shall you do next?

Dorothy (briskly) : Study for the stage, I think. At any rate, I shall take voice culture—have my voice placed, and all that. And then I’ll be on the lookout fur a play.

A. W. F. : What type of play?

Dorothy : Something along comedy-drama lines, with sentiment, I imagine.

G. H. (to Lillian) : And what shall you do next?

Lillian (gently) : I have no plans [G. H. and A. W. F. gather their wraps and rise to go. G. H. is carrying a copy of “Cytherea,” the new Hergesheimer novel. Lillian Gish espies it and remarks that there are two copies in the Gish family, but that as yet she has been unable to get one. She looks, with meaning, at Dorothy Gish Rennie.]

Lillian Gish and Dorothy Gish Henriette and Louise (Orphans of The Storm)
Lillian Gish and Dorothy Gish Henriette and Louise (Orphans of The Storm)

Dorothy Gish : All right—you may have one of the copies. I’m reading George Bernard Shaw’s “Back to Methuselah.” George Bernard Shaw is my idol. One evening when a guest of mine belittled him, I asked him to leave my table. That’s what I think of Shaw! (Lillian and James Rennie laugh.)

A. W. F. : Good-bye. The blonde cookies were good. So (regarding Mrs. Rennie) was the tea.

G. H. : Good-bye . . . Good-bye . . .

Lillian Gish (earnestly) : I do hope we said something which will help you. It doesn’t seem to me we’ve been very entertaining.

Dorothy : I think I have ! Anyway, I’ve done my best, than which no one can do more. I’m going to have another tea party at my house soon. Will you come? (Immediate and unanimous acceptance.) Fine. Good-bye.

James Rennie : Good-bye. Visit the Rennies sometime. Dont wait for the teaparty.

Motion Picture Magazine
Motion Picture Magazine

 

Scene II.

—The Interior of a Taxi.

G. H. : How lovely they are ! How simple ! How sweet ! No trace of professionalism

adulterates them! This afternoon will stand apart with me.

A. W. F. : But we’ll never get their personalities down on mere paper. As great as they are, one must feel it. It is less than concrete and very much more.

G. H. : In their simplicity lies their greatness.

A. W. F. (with detached hopefulness) : I’m going to the Rennie tea-party . . .

G. H. (briefly) : Foregone conclusion.

Orphans - Chevalier March - Music Sheet Wm Frederick Peters
Orphans – Chevalier March – Music Sheet Wm Frederick Peters

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“Sold for Marriage” – MOTOGRAPHY – April 15, 1916

MOTOGRAPHY Vol. XV, No. 16. April 15, 1916.

“Sold for Marriage”

Triangle-Fine Arts Story of the Russian Peasantry.

Reviewed by Thomas C. Kennedy

Lillian Gish - Sold For Marriage 1916
Lillian Gish – Sold For Marriage 1916

LILLIAN GISH’S characterization of a Russian peasant girl and the atmosphere and pictorial beauty of the scenes are more impressive than the story which “Sold for Marriage” tells. It is a sympathetic romance in which the aunt and uncle of Marfa deem it their duty to sell their pretty charge at a good price. The play is carried by Miss Gish in the central role and the striking effects supplied by the director, William Christy Cabanne.

Lillian Gish - Sold For Marriage 1916
Lillian Gish – Sold For Marriage 1916

“Sold for Marriage” is a picture that will find favor generally. The story is thin but it serves as a vehicle for the featured player and the basis for the production of many beautiful pictures. The scenario is by William E. Wing, who has succeeded in making five reels out of a play that could in reality by depicted in much less footage. This is admirably, skilfully done, and “Sold for Marriage” holds the interest unflaggingly. The ending is commonplace, but it is the only thing which one can find fault so it can be forgiven.

Lillian Gish - Sold For Marriage 1916
Lillian Gish – Sold For Marriage 1916

Miss Gish’s portrayal of Marfa wins her the sympathy of the audience, she assumes the role of a Russian peasant in a thoroughly convincing manner. Just why Miss Gish impresses one as an actress of great skill and little warmth is indeed a question, but the fact that her work seems to lack natural color and spirit remains. In fairness to her we must insist again that her characterization is technically beyond criticism, and it is not at all unlikely that others will experience the natural warmth and sincerity we missed.

Lillian Gish - Sold For Marriage 1916
Lillian Gish – Sold For Marriage 1916

Marfa’s affection for Jan, a young Russian who has recently returned from America, makes her rebellious when her guardians try to sell her to an elderly man who is ready to pay them a good price for the pretty child in marriage. The bachelor marries a girl who is less independent and Marfa comes in for abuse at the hands of her uncle and aunt.

Lillian Gish - Sold For Marriage 1916
Lillian Gish – Sold For Marriage 1916

Marfa’s actions toward the new governor who is attracted by her beauty make it necessary for the girl and her guardians to flee to America. On the boat they meet Jan; consequently Marfa’s love grows stronger. But on arriving here the aunt and uncle contrive to separate the happy couple. Marfa is about to be forced into a marriage with an ugly Russian when Jan calls in the police, who have determined to put a stop to the sale of Russian girls for marriage. Frank Bennett is a very good type for his role as Jan, but Jan as played by him is not an especially manly man. A. D. Sears, Walter Long, Pearl Elmore, William E. Lowery and the other members of the cast are convincing in appearance. The snow scenes and those which show a severe storm in progress are highly successful in the effect they produce upon the spectator.

Thomas C. Kennedy – April 15, 1916

Sold for Marriage Triangle Plays Program 1916
Sold for Marriage Triangle Plays Program 1916
Motography Vol. XV, No. 16. April 15, 1916
Motography Vol. XV, No. 16. April 15, 1916

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A Timely Interception (1913) Biograph

A Timely Interception - Lillian Gish Biograph
A Timely Interception – Lillian Gish Biograph

A Timely Interception (1913)

Directed by  D.W. Griffith
Release date: June 7, 1913 /Re-released July 9, 1915

Writing Credits (in alphabetical order)  

Christy Cabanne (writer)

Cast (in credits order)  

The Farmer W. Chrystie Miller The Farmer
The Farmer’s Daughter Lillian Gish The Farmer’s Daughter
The Farmer’s Adopted Son Robert Harron The Farmer’s Adopted Son
Uncle James – The Farmer’s Brother Lionel Barrymore Uncle James – The Farmer’s Brother
May – Uncle James’s Daughter Lucille Hutton May – Uncle James’s Daughter
The Oil Syndicate Prospector Joseph McDermott The Oil Syndicate Prospector
The Oil Syndicate Officer William J. Butler The Oil Syndicate Officer
The Oil Syndicate Officer Alfred Paget The Oil Syndicate Officer
First Oil Rig Foreman Frank Evans First Oil Rig Foreman
Second Oil Rig Foreman Frank Opperman Second Oil Rig Foreman
Uncle James’s Friend Adolph Lestina Uncle James’s Friend
The Policeman Charles Gorman The Policeman
Rest of cast listed alphabetically:
Undetermined Secondary Role (uncredited) Christy Cabanne Undetermined Secondary Role (uncredited)
Undetermined Secondary Role (uncredited) Mae Marsh Undetermined Secondary Role (uncredited)
Cinematography by G.W.Bitzer
A Timely Interception - Lillian Gish - Biograph
A Timely Interception – Lillian Gish – Biograph

Summaries

After a hard struggle the old man has just saved enough money to justify the marriage of his daughter and adopted son, when word comes from the oil fields nearby that his brother has lost his job, the little girl is very ill, and there is no money in the house. The sacrifice is a big one, but it has to be made. The wedding is postponed. One day his brother rides over on a bicycle to pay a visit to his benefactors, but does not bring the money. The little family is at a desperate pass; the house has been put up for sale. An oil prospector discovers oil on the premises and takes an option on the property, then hastens away to form a syndicate. The old man’s brother and the boy go out in a field to dig postholes, and strike oil. The importance of the discovery is appreciated by the former oil man, and the pair rush off to the house. On the way they fall into a disused well, from which the boy contrives to escape. The oil syndicate is on the way in a fast motor car when they are intercepted by a traffic policeman who has seen a little girl clinging to the back of the car. She is the old man’s niece, who has risen from her sick bed, put on her roller skates, and gone on a lark. The oil men bundle the half-fainting girl into the car, rush to the house, and are forcing the old man to sign the papers when the boy enters and stops the transaction. The syndicate is foiled, and the great event takes place after all, some days later.

Technical Specifications:

Runtime 17 min (16 fps)
Sound Mix Silent
Color Black and White
Aspect Ratio 1.33 : 1
Film Length 305 m (1 reel) (USA)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm

Produced by Biograph, distributed by General Film Company 1913

Filmed in Nogales – Arizona and California USA

Aside from its dramatic qualities, “A Timely Interception”, the fifth Biograph re-issue of subjects directed by D.W. Griffith, offers the many followers of W. Chrystie Miller an opportunity to see “the grand old man,” as he is called, in one of the deepest bits of acting he has ever done before the camera.

A Timely Interception - 2 Biograph
A Timely Interception – Biograph

The story tells of an old man who has saved enough money to justify the marriage of his daughter and adopted son when word comes from the old man’s brother that he had lost his job, his little girl is very ill and there is no money in the house. The sacrifice is a big one, but it has to be made. This postpones the wedding and eventually leads to the home being placed on sale. Later, the adopted son and the old man’s brother are digging post-holes on the farm when they discover oil, and in their haste to tell the old man of the lucky strike, they fall into an old abandoned oil well. In the meantime, a prospector for an oil syndicate was busy with the old man in a effort to force him to sell the farm, and had fairly well succeeded when the boy rushes into the house and stops the transaction. A short while after, the great event takes place with far more pomp than it would have otherwise.

The situations of the story are well constructed, there is plenty of action, and the acting of W. Chrystie Miller, Lillian Gish, Robert Harron, Lionel Barrymore, Jos McDermott and Wm. J. Butler is up to the usual high standard to be expected of these players. (Biograph Program)

A Timely Interception - Biograph
A Timely Interception – Biograph

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Back to Lillian Gish Home page