Chicago Tribune – Sunday, March 16, 1941 – Page 31
Young Red-Heads Are Models at Club Anniversary
The Chicago Woman’s club had a colorful 65th anniversary party recently when it introduced 11 south side red-heads to Miss Lillian Gish of the “Life With Father” company. The girls, who modeled in a fashion show which was the highlight of the program, were entertained afterward by Miss Gish at a matinee box party, as well as backstage. Sitting next to Miss Gish is Eileen Kilday, 1365 East 53d street. Standing (left to right) are Marylyn Schaefer, Josephine Cousgrove, Kay Brennen, Lucille Maloney, Elinor Eaton, Helen Geary, Marietta Fox, Alecia Byrne, Jeanne Marie Fox, and Jamie Fox.
Chicago Tribune (Chicago, Illinois) · 1 Apr 1941, Tue · Page 1
America First Rally Today To Hear Talk By Miss Lillian Gish
Miss Lillian Gish, stage and screen star, and Gen. Thomas S. Hammond, former head of the Illinois National Guard, will address an antiwar luncheon rally today at 1 p.m. in the Grand ballroom of the Hotel Sherman. The rally is sponsored by the first Chicago chapter of the America First committee.
Both Miss Gish and Gen. Hammond advocated the entry of the United States into war in 1917, but are now convinced that the participation in the present European conflict would bring dictatorship and financial collapse.
Miss Gish, who starred in British propaganda films which helped to draw the United States into the first world war, will describe propaganda technique again being used by the British and American governments. Gen. Hammond, chairman of the Illinois America First committee, will discuss the economic peril to America if the nation goes to war.
Mrs. Janet Ayer Fairbank, national vice chairman of the America First committee will preside. All the 55 state chapters are expected to send representatives to the luncheon.
Miss Gish’s Argument
“Why not bring freedom of speech and religion, freedom from fear and want, to our own land before we set out to bring them to other lands by letting the people of the United States, who will have to pay, decide by vote on the issue of war?” Miss Gish asked. “If there is any foresight or justice in Washington, the question will be put to a vote.
“In 1936 I voted for Mr. Roosevelt. I didn’t vote in the last election, however, because I felt that both candidates were more interested in other countries than their own. We won the last war, but what did we get out of it? Three hundred forty-six thousand dead and wounded, an over-all cost of 45 billion, prohibition with its attendant hypocrisy, lawlessness, gangsters, ten thousand bank failures and a depression from which we have not yet recovered.
“Now is a good time for us to recall George Washington’s words – that the nation which holds toward another an habitual hatred or an habitual fondness is in some degree a slave – a slave to its animosity or its affection, either of which is sufficient to lead it astray from its duty and its interests.”
Mother of Miss Gish
Chicago Tribune (Chicago, Illinois) · 10 January 1941, Friday · Page 17
Probably the last Christmas tree in Chicago to be taken down is that of Miss Lillian Gish, in her apartment at the Blackstone hotel. The tree, hung with ornaments and webbed in silver mist, the holly wreaths, the Christmas angels on the mantelpiece, and the Christmas candles go down today with the departure of Mrs. Gish for New York after a holiday visit with her daughter here in her long run of Life With Father.
Mrs. Gish, who with her dazzling white hair and deep blue eyes is reminiscent of a Dresden figurine, is an invalid as a result of shell shock in the world war, when she accompanied her daughters, Lillian and Dorothy, to the war area, where they made propaganda pictures under the direction of David Wark Griffith. She lost 35 pounds during the stay in the war zone, and has been invalided ever since.
Lillian and Mrs. Gish sailed for England on the first boat to cross the Atlantic after America had declared war, the St. Louis. Dorothy Gish sailed later on the Baltic, the same boat that carried Gen. Pershing and his staff overseas, and took 13 days to do it.
“Think of any one having the courage to face the movie camera,” the commander of the A.E.F. said to Miss Gish.
The Gishes were in London during two months of heavy bombardment. In September they sailed for France on a troop transport that started out twice and returned because of floating mines. Griffith had gone ahead to get into production, and when the two Gish girls arrived with their mother they went into the war area and made pictures in trenches and beyond the barbed wire. During their stay in Paris they lived with a French family in a bomb shelter, and learned to tell by the sound of the motors overhead what kind of plane and which country’s it was. The pictures made were Hearts of the World, The Greatest Thing in Life, and The Great Love. Remember?
Chicago Tribune Illustrated Notes (Lillian Gish) – articles placed in chronological order
Chicago Tribune – Sunday, January 27 1927 – Page 94
Lillian Gish is Annie Laurie
Lillian Gish is the demure damsel before you, and she looks like this in “Annie Laurie,” in which picture she has the role of the Scottish Joan of Arc.
Lillian Gish literally is Annie Laurie. Those who imagined her as a myth or legend will be amazed at the actual woman; Miss Gish is a faithful portrayer of the real Annie Laurie, who lived centuries ago whose love and whose heroism turned the tide of Scottish history in a real life drama more powerful than any imagined by a scenarist; and whose romance has come down to the world in song of the ancient bard. “Annie Laurie” is a tremendous drama of history. It deals with the gigantic ferment and struggle in Scotland that culminated in the Glencoe Massacre.
It is all laid on actual fact. Miss Gish, as the historic daughter of Sir Robert Laurie, chief of Clan Campbell, approaches the genius of Bernhardt, but always coupled with her own ethereal charm, in the mighty drama, in which she enacts the Scottish Joan of Arc. Norman Kerry plays the hero as a chieftain of the enemy clan of MacDonald. The great battle scenes, with hordes of six foot wanders in tartans and plaids, battling with shield and claymore—the majesty of the ancient Scotch castles these all add glamor. But the charm of Lillian Gish pervades it all.
Annie Laurie – Photo Gallery
Admin note: Lillian, however, was riding on the top wave. An English company offered her the lead in “The Constant Nymph”; a great German company offered the part of Juliet: “Cannot tell you how delighted we should be, if the remotest possibility”; de la Falaise offered her the part of Joan of Arc, in a picture for which Pierre Champion, the great French authority on Joan, had prepared the scenario. To the last named, she replied that she had long been considering the part of Joan, and put the matter aside with real regret. And many wanted to write of her. Whatever she did, or was about to do, was news. A magazine, Liberty, sent a gifted young man, Sidney Sutherland, all the way to the Coast to see her. He had expected to do one, possibly two, articles, but his editors asked for more, and under the general title of “Lillian the Incomparable” continued his chapters —”reels” as he not inaptly termed them—through nine weekly instalments! On any excuse, and with no excuse at all, other than what it presented, and stood for, periodicals carried her picture. Vanity Fair published a full front-page portrait, by Steichen, nominating her “The First Lady of the Screen.”
Chicago Tribune – Saturday, March 28, 1925 – Page 3
Jam Courtroom to Get Glimpse of Lillian Gish
New York, March 27 – [Special] – In the hop of seeing Lillian Gish on the witness stand in the suit brought by Charles H. Duell to prevent her acting for other companies, admirers of the film star flocked in such numbers to the courtroom in the Woolworth building, that the corridor and the courtroom had to be cleared.
Miss Gish sat unperturbed through all the craning of necks in the back of the room. Her face was white. She showed no signs of nervousness, but it was evident that she did not look forward with pleasure to her appearance on the witness stand.
The crowd, however, was disappointed in its hope of seeing Miss Gish on the witness stand. Hammond Duell, counsel for his brother, did not call the screen actress. The situation had changed and he said he might not want to question Miss Gish before Tuesday.
J. Boyce Sraith, who was secretary of Inspiration Pictures when Charles H. Duell was president and Miss Gish was one of the stars, remained on the stand for most of the day. He was succeeded by Miss Blanche C. Brigham, secretary to Mr. Duell. After Miss Brigham had identified correspondence between Duell and counsel for Miss Gish, court was adjourned until Monday morning.
Los Angeles California, April 24 – (AP) – Lillian Gish, screen actress, won the $5,000,000 breach of contract suit brought against her by Charles Duell, producer, today. A jury verdict for the defendant in the trial was returned when the court instructed that such a verdict be given on the grounds that all the issues of the case previously had been adjudicated in the federal court of New York.
Photo-Play Journal – July 1919
“TRUE HEART SUSIE,” one of David W. Griffiths’ latest Artcraft pictures, will not injure this master wizard’s reputation any, for he has not failed to place the very visible earmarks of his directorial skill upon this production. It is a beautiful pastoral romance exerting an intense heart appeal, which is heightened in the manner of treatment and the careful attention to little details which always count so prodigiously in the aggregate. Lillian Gish, in the title role, takes one more long step towards proving that she is one of the greatest artists ever developed under the Griffiths banner, while Robert Harron again distinguishes himself in his support of her. The story unfolded in this excellent photoplay is well worth telling in some detail, and it follows:
Susie May Trueheart, a delightfully awkward, straight forward, true-hearted girl of Hoosier county, loves, with steadfast loyalty, William Jenkins, her boy neighbor across the way. At the little country school house she watches, adoringly, his every move, and suffers untold agonies when, because she is a better speller, she has to go above him. A small, live politician, looking after his fences as he passes through the town, calls William a bright lad, and half promises—in his desire to impress the simple country folk—to give the boy a start in life. Through the months that follow, William and Susie await the fulfillment of the promise that was not made to be kept, looking for the letter that never comes. At last Susie decides for herself that William must not be disappointed ; she determines that the man she is to marry must be educated; William is the man she is going to marry ; she herself will send him to school. She confides her plans to the spinster aunt with whom she lives. Auntie is quite unenthusiastic.
But since the farm and everything on it was left to Susie by her mother, the girl has her way. The accumulated butter and egg money, the small amounts saved for luxuries, finally the cow, go to swell the fund that is to give William his start. Of all these sacrifices, William knows nothing. When at last a letter arrives with money orders and a receipt from the nearby country college for a year’s tuition, he takes it for granted — through his transports of delight—that the gift is from the self-styled philanthropist of the year before.
William goes through college. He is ordained a minister. Through the years Susie waits for him, whole-heartedly, treasuring each of the few letters that he sends her, and finding crumbs of comfort in such non-committal phrases as : “So far, I haven’t met anybody I like better than the people at home.” It is after William’s return home that Susie’s life tragedy occurs. The young man, self consciously important as the newly appointed minister of the home church, falls head-over heels in love with Bettina Hopkins, a lightheaded little butterfly from the next town, and marries her. Hiding her heavy heart beneath a smile of sacrifice that illumines her serious little face, Susie carries flowers at the simple country wedding.
Following the marriage, matters at the parsonage do not progress smoothly. William finds that the girl of his dreams is a different being in real life. Curl papers take the place of curls, and interest in stories drives out interest in preparing meals. Vaguely, William realizes that he has made a mistake—that in Susie, and not Bettina, he might have found his true mate. But it is too late now. Sadly, when he finds Susie looking at some letters in a hidden nook, he asks her if she is thinking of getting married, and advises her to be sure and find the right man. He fails utterly to sense that the letters Susie is reading, are his own—letters from the only man she can ever love. Bettina sees occasionally, members of the little fast set of the near-by town, whom she knew before her marriage. She dances with a former beau, Sporty Malone, and receives his kisses. But when William returns unexpectedly, convinces him that he was entirely mistaken in what he thought he saw. Later, Bettina attends a dance with Sporty and is caught in the rain on the way home, only to find—drenched and shivering—that she has lost her key and cannot get back into the house unobserved. In desperation she goes to Susie and is taken in for the night.
Susie, torturing her own heart, keeps Bettina’s secret—and again William is deceived. But the cold proves serious. It settles in the girl-wife’s lungs, and dances poor Bettina down into the Shadowy Halls of death. With her last words she tries to confess to William, but is unable, even then, to tell him the truth, dying as she had lived, a little unfaithful. After she has passed away, William begins the mistaken task of enshrining her in his memory—to the exclusion of any other love. Then, in time, he learns the truth that Bettina was—what she was ; that Susie is—what she has always remained.
So Susie at last comes into her own.