IT takes good old peace times to promote propaganda against war. That is why “The Enemy,” a film version of the play is brought out now. Fred Niblo, who directed “Ben Hur, ” was not inspired when he wove it into picture shape, though he has done a creditable job by it. The trouble is there’s no great idea behind it. Niblo employs several studio tricks (he knows them) and by capitalizing scenes of marching feet—and the usual stock methods he makes a picture that stands up fairly well as entertainment. The story is not involved with any subtle strokes. The suspense and the climaxes are well planted. The star is Lillian Gish and, as is her custom, she acts with fine poise and restraint and yet releases an admirable suggestion of pent-up emotions. The title gets its meaning from war—a force to be avoided. The story takes up the deprivations of a family in general, and those of the young wife in particular. It is her husband who is drawn from her arms the morning after the marital ceremony.
Symbolism has a place in the picture, although it isn’t indicated by suggestion. But it is pointed that war causes hunger and despair—and profiteering. The subject might have been handled with more imagination and realism by the Germans. Here it is a fairly entertaining picture saturated with hokum. Ralph Forbes does a splendid piece of work in the role of the husband forced to go to war. Others who acquitted themselves with honors are Frank Currier and George Fawcett.
Drawing Power: Star’s personality should put it over. Suitable for first runs and all types of houses.
Exploitation Angles: Play up as an indictment of war. Feature star and leading man.
THEME: Drama of war with married couple separated not to be reunited until they have suffered untold privations.
Produced and distributed by Metro-Goldwyn-Mayer.
Length, nine reels.
Released, December, 1927.
The Cast: Lillian Gish, Ralph Forbes, Ralph Emerson, Frank Currier, George Fawcett, Fritzi Ridgway, John S. Peters, Karl Dane, Polly Moran. Director, Fred Niblo.
Pictures and People
Inside slants on the industry
A VIGOROUS preachment against war is ”The Enemy,” which brings Lillian Gish to the Astor Theatre in the premiere of the Meek. On the stage, Channing Pollock’s play attained marked success as an argument for the brotherhood of man.
Transferred to the screen, it becomes somewhat heavy handed in spots, but, considered as a “propaganda” picture, it is very impressive. Miss Gish, forsaking her earlier mannerisms, gives a natural and satisfying performance, in some of the sequences rising to the genuine heights of tragedy. Ralph Forbes, leading man, is excellent, while George Fawcett and Frank Currier shine in character roles.
As a whole, “The Enemy” is too long and can easily be relieved of some of its repetition, such as the shots of marching feet, which rather lose their effect when the dramatic point they convey is hammered incessantly at the spectator. In the main, Director Fred Niblo has done a good job. It’s a good box-office picture.
“The Enemy” Premiere at Astor, Dec. 27
“THE ENEMY,” the Channing Pollack play which Metro-Goldwyn-Mayer has transferred to the screen with Lillian Gish playing the leading role, will have its world premiere performance at the Astor Theatre on the evening of Tuesday, December 27. The new picture will succeed “The Student Prince,” which has been housed at the Astor for the last four months.
Fred Niblo directed “The Enemy,” which has Ralph Forbes and a large cast in support.
Lillian Gish and Ralph Forbes (The Enemy)
Lillian Gish, Ralph Forbes silent film The Enemy orp
The women are goddesses, the men are matinee idols; they are all stars who command devotion and veneration. The reverential and celestial vocabulary has been consecrated by decades of usage and press agentry. The cliches’ first connotations effectively separate public from performer by an expanse of astral geography. The gods reign on high, the stars blink in solar systems light-years away, and we mere mortals, worshiping at their shrines in blissful ignorance, celebrate the distance. We join cults, we become fanatics, we endow the star system with mythologies of nostalgia by collecting the stars incarnations in roles X, Y, and Z and cherishing the relics of memorable and memorized bits. “Play it, Sam.”
The Actress as Metaphor: Gish in Broken Blossoms
Lillian Gish and D. W. Griffith spring from the turn-of-the-century theatrical milieu. The traces of theatre in Hearts of the World (1918), Broken Blossoms (1919), Way Down East (1920), and Orphans of the Storm (1922) are not disguised, and the last two are unabashedly drawn from popular melodramas of the period. Yet these creations also display a category of film rhetoric unrelated to naturalistic theatre and prose narative. When Griffith “opens up” a play he does so by searching out the reverberations of the saga, the painting, the still photograph, the lyric.
The patterns of Broken Blossoms are primarily those of poetry; Lillian Gish’s response to its demands reveals fundamental differences between acting as impersonation and acting governed by the fixed form of the movies. Broken Blossoms creates a tension between theatrical expectations for the stage and configurations pertinent only to the screen. It offers a field for understanding screen acting at its most specifically formal. The integrity of such acting to the cinematic text must be seen through the relationship between Gish and the film’s general structure. In Broken Blossoms the unity of performer and pattern exemplifies the metaphoric factor of screen acting. It elicits our perception of acting’s purely filmic quotient.
Actress and director fit the medium in no film more completely than perhaps in Broken Blossoms. Histories tend to illustrate Griffith’s career with the epic and monumental; the battlefield and the ride of the Klansmen from The Birth of a Nation (1915), and the aerial shot of the Babylonian court in Intolerance (1916) are events of imagination and sweep quite characteristic of his style. The sense of spectacle in the obsessively intercut chase and/or rescue sequences and the fugal structure of Intolerance are grandiose gestures that literally stretch the theatre as far as the eye can see and brutally challenge the limits of our formal and temporal perceptions.
Broken Blossoms appears to be a return to the stage. Most of the action is confined to two interior sets, the rooms of Battling Burrows and the Yellow Man. Griffith does nothing to trick the audience into believing that the world of these characters is broader than the space of these rooms. Indeed, he does everything to emphasize the delimiting walls and the entrapment of the characters within. The far-ranging camera of The Birth of a Nation and Intolerance is most glaringly absent, and whereas the earlier films taught our eyes to stretch telescopically, Broken Blossoms focuses down to the smallest detail and the minutest gesture.
Lillian Gish – Birth of a Nation
The Birth of a Nation (1915) Directed by D.W. Griffith Shown: Mae Marsh
These distinctions are somewhat misleading, for the memorable details of the epic films are as important as the concerted scenes. Lillian Gish and the admiring sentry in The Birth of a Nation, Mae Marsh’s acting in both films, the homecoming of Henry Walthall, “The Little Colonel,” and the wonderfully silly Babylonian lovebirds are only a few of the exquisite components we remember in Griffith’s mammoth compositions. (Indeed, miscalculated details in Way Down East and, to a lesser extent, in Orphans of the Storm are more disturbing than general structural weaknesses.) Yet, despite treasurable moments of intimacy that refine our perception, the principal design of these films belongs to the fresco, insistently calling upon the alertness of a roving glance. Broken Blossoms makes no such demands. The quality of concentration it summons fits the tauter connections and narrower limits of its frame. If the exhilaration of The Birth of a Nation and Intolerance is sacrificed, consistency and density take its place and inexorably draw the viewer into the pattern to be trapped in the art as Lucy is trapped in her closet. Griffith deliberately restricts the scope of the camera and denies it its most obvious advantage over the proscenium, proving that movies needn’t move over wide expanses to expose their nature. Without being unfaithful either to movies or to literature, the director adjusts the freedom of the camera to the audience’s perception of the strictest of fixed forms—the poem.
Griffith is repeatedly attracted to allegorical configurations. In the broadest sense Intolerance is an allegory, its episodes designed to represent, to dramatize the concept of intolerance through the ages. The film’s linking image of the hand rocking the cradle (Lillian Gish dimly lit) shows Griffith’s facile use of symbolic conventions. He prefers to draw generalities from character rather than to leave that task to the viewer. In as tired a vehicle as Way Down East a title proclaims that the heroine’s name is Anna, but she might just as well be called Woman.
The grandiloquence is unsuited to a film flawed by dubious bits of crowd-pleasing “down-East” humor and melodramatic ploys that were worn out long before Griffith used them. Anna’s interest as heroine is manifested only twice: the baptism of her dying baby and the snow storm/ice floe sequences. The rest of the film degrades a register of allegory worthy of Woman.
Lillian Gish and Donald Crisp in Broken Blossoms – He can’t stand bad manners at the table …
Lillian Gish and Donald Crisp in Broken Blossoms
Lillian Gish and Donald Crisp in Broken Blossoms
This is not the case in Broken Blossoms. Griffith envisions the film as a dynamics of idealism, innocence, and brutality The three protagonists—the Yellow Man; Lucy, the girl; and Battling Burrows—consistently enact their ascribed characteristics, and every element of the film sustains the purity of the conceptual byplay. The names contain allegorical clues—man, girl, battling. The minor characters, Evil Eye, and Spying One, along with the title, complete the pattern. The credits reveal Griffith’s risky intention. The risk is in the notion that the reality of filming can bear the strain of allegorical textures. If Broken Blossoms lacks obvious pictorial scope, its ambitions are great nonetheless. Much of its impetus seems unrelated to the particular strengths of the medium.
After a brief prologue in which the Yellow Man (Richard Barthelmess) is introduced previous to leaving China “to take the glorious message of peace to the barbarous Anglo-Saxons, sons of turmoil and strife,” we see London’s Limehouse, the principal exterior set of the film. With this set Griffith establishes the motif of enclosure. Even outside we are inside; the space is radically – circumscribed by the opposing storefronts and the rear arches.
The Yellow Man’s idealism has been deflated by the confines of this street, by the very bricks against which he huddles. This shot is a melancholy, reflective emblem, the straight lines and angles of which are drawn into the curved body. This linear tension draws the viewer into the Yellow Man’s reverie. The next is a closer shot, which lessens the distance and expressively uses the changed angle of the hero’s head, the chin tucking in the shoulder, to increase proximity and intimacy.
Griffith’s caricatural notions about Chinese posture perhaps have something to do with the hunched torso, but he uses it throughout the film when presenting Lillian Gish as well—pensive, cowering before her father.
Fear, thought, the frailty of the heroine and the habitual attitude of the hero are expressed in a single cast of body, a spatial indication of their nearness to an interior world—one they will briefly share. They both curl in on themselves, as they seek refuge from the hostile space around them, and direct our own feelings toward the small centers of these frames that are so often limited by the irising of Bitzer’s lens.
The degree of introspection is then heightened; Barthelmess, leaning against the brick wall, is quite literally thinking about himself dreaming while smoking opium in a “scarlet house of sin.”
Again, the linear strength of the composition draws us to the center—arm, pipe and torso form a triangle at the apex of which the drug-hooded eyes reflect inward.
The shots of Barthelmess leaning against the wall and smoking opium and of Gish seated on the wharf establish the film’s landscape, a conceptual and emotional one contained in the minds of the protagonists. The limited dimensions of the spatial correlatives repeatedly bring us back to the inner worlds of Lucy and the Yellow Man where the force of imagination, through the processes of metaphor, transcends their everyday prisons. If Griffith means them to be allegorical characters, they, in a real sense, use allegory to exist. They escape their intolerable reality by substituting symbols for things.
Lucy is a fifteen-year-old (Gish had grave reservations about assuming the part because of her age) and her inner life is much simpler than the Yellow Man’s, yet she accomplishes the film’s most vivid gesture of poetic transformation.
A desperate defense against her father’s brutal domination, her finger-induced smile is a bit of “business” whose ambiguities of sentiment are extensions of its ambiguous position between the realm of representational acting and that realm of the film in which the actor becomes metaphor itself. It represents the way symbols are manipulated, the function of mask, the very root of artifice. Lucy is in constant terror of her father. This is the prevailing attitude in which the physical changes are wrought; it is a limited field upon which the richness of Gish’s invention is displayed. When Lucy sees Daddy the tiny twisted mouth echoes her hands twisting her shawl.
Gish plays a fifteen-year-old in mortal fear of her brutalizing father, and the actress never overreaches the character’s age and experience. The restrictions of chronology control a degree of stylization appropriate to this extraordinary mixture of face and mask. The pained eyes burn through the pitiful, forced smile; the actress unites expression and emblem. She forces our attention to that line where art is hinged on its artificial conventions and its verisimilitude. The distance between mouth and eyes helps us apprehend the link between Lucy’s specific plight and the universal burden Griffith has thrust upon her, the eternal victim.
The first encounter between Gish and Barthelmess sustains the pattern of contemplation initiated at the film’s beginning, and, again, framing devices locate and organize our simultaneous perception of event and style. We see Gish while she is being seen by Barthelmess; the window separates, connects, and delimits, and provides a spatial referent for the process of observation.
The back-lit, soft-focus, Hendrick Sartov close-up of Gish, a lovely but facile device for idealizing the heroine, was to become a cliche. But it was in Broken Blossoms that it first achieved consistency as a significant element of the vocabulary used to photograph Gish. One of the film’s tensions is in the duality of the presentation of the heroine—Lucy, as tangible victim of her father’s whip and hammering fists, and as angelic vision in the eyes of the Yellow Man. The latter kind of shot disembodies her, deemphasizing her physicality by turning her into a chiaroscuro pattern, an abstraction that favors the film’s allegorical penchant.
Griffith opposes this to the stark, clear photography of the violent scenes Gish plays with Donald Crisp as Battling. The camera underlines the dialectic between phenomenon and ideal—the palpable and the transcendental—demonstrating its versatility as it shifts between the two modes, truly catching these actors as they pass from the realm of nature into that of allegory. Griffith abuses this technique in subsequent films with Gish, when the idealized heroine is denied the supporting apparatus of Broken Blossoms style. Through the twenties to her last starring film at MGM, the vision retains its aura of beatitude and in La Boheme (1926) provides for some particularly cherishable shots, although it never again finds a context as congenial as Broken Blossoms.
The physical register is signaled when Lucy, returning to serve her father a meal, quickly fixes a “smile” on her face. Then “the terrible accident”: she spills something on Burrows’s hand. Gish’s performance, to this point based on pent-up terror and control, now bursts forth in a frenzy that is one of her specialties. Her loss of restraint and her willingness to decompose the harmony of her being set a standard for the portrayal of hysteria that only she herself will match. (Griffith gives her repeated opportunities to do so in The Greatest Question, 1919, Way Down East, and Orphans of the Storm where her tremblings are no less unsettling for their familiarity.
The reiterated and almost unvaried master shot postulates the integrity of the space and the necessity of Lucy’s suffering within it. The same is true of the master shot of the Yellow Mans room. What is, I expect, a shooting expedient conspires to the fihii’s advantage by furnishing constants in the poetic pattern, akin to rhyme, meter, and recurrent imagery. Even the transitions recall the constancy of the setups. Lucy struggles to her feet, drags herself through the streets to the wharf (an often repeated locale), and finally she arrives at the Yellow Man’s shop.
Here, the framing shafts of light provide a variation for our recognition of a set that belongs to the film’s strong series of limitations. The blossoms of the title, fragrant and so perishable, have a dual meaning. They refer to the name the Yellow Man bestows on Lucy, White Blossom, and they suggest the allegorical tradition of Renaissance love poetry that turns the beloved into a flower. They establish the stylistic linkage between the film’s hero and heroine. Conventional role-playing is altered by the fact that Lillian Gish, in her twenties, is playing a fifteen-year-old, and Richard Barthelmess, an American type to the point of caricature as later shown in Way Down East and Tolable David (1921), has assumed the role of a Chinese. The Yellow Man creates the love poem by providing the regalia and the rhetoric, but he is also within the poem as object, rendered so by Barthelmess’s version of lover. He is a blossom as well as Lucy. Actor and actress are profoundly alien to their roles; the characters are alien to their environments, and they create a space for themselves at the center of this film.
The meeting of Lucy and the Yellow Man evokes responses in Gish, Barthelmess, and Grifiith that guarantee the blossoms’ integrity. Nothing jars the internal structure of the poem. Lucy has fainted on the floor of the shop and the Yellow Man finally sees her.
Gish casts her eves down and Barthelmess averts his face, both momentarily withdrawing into themselves before crossing the barrier to become intimate object and referent in a metaphoric relationship. Then their inwardness will be mutually inclusive.
The Yellow Man makes his room over into a temple for Lucy, and he garbs her as befits a goddess, adorning her hair with combs, offering her incense (which with childish finickiness she refuses). She admires her own transformation in a hand mirror—a reaction of superbly in-character, coquettish delight—and expresses gratitude for a small vase of flowers. It had been her wish for a flower that brought them together on the street earlier in the film. Flowers are more apt for these characters than theatrics.
The film’s motifs and attitudes prepare its most courageous scene, one in which actor and director fully meld the dictions of drama and lyric poetry. The intertitle proclaims the worst in Grriffith’s taste, his bent for overstatement, his belaboring the point the image so completely transmits without words: “There he brings rays stolen from the lyric moon, and places them on her hair; and all night long, he crouches, holding one grubby little hand.” Barthelmess seems to be praying at Gish’s bedside while she sleeps.
The moment is privileged, an epiphany linking the Yellow Man’s religious ideals to his dream of love. What then occurs is a schema for the use of metaphor, its creation, and its power to fix the epiphany in time, to render it tangible through its correlatives. Barthelmess quite literally catches the moonlight in his hands, carries it across the room and showers it on Gish.
Griffith’s prose is inadequate to the flow and grace of the shot, the quality of belief shaped by a flexible actor and sustained by a patient camera. A pattern of circular arm movements that involve the whole room is followed by a third frame enlargement of Barthelmess’s hands close to his face in an ambiguous reminder of the prayer stance. Then, even at that instant when the light is released, a slight hunch of his shoulders preserves some aspect of character during his most total transport. Kneeling by the bed at the foot of his shrine, he once again projects qualities of religious and sexual ecstasy, sublimely confusing the two just as lyric poets did from the early Italian Renaissance to the English pre-Raphaelite period.
The transition from the first frame to the second, from contemplation to prayer culminates in touch, the contact of face and hands. The whole sequence is a rapid shift of emphasis—from his hands circling to hers, and from her face bathed in the light he bestows to his own beatified by her hand. The light, which is the linking factor of these exchanges, is explicitly part of the scene’s theatrical content, and its value accrues through scarcity. Light alone, the light of a very special and personal moon cornered by the Yellow Man, breathes life into these characters. Metaphor is their only means of sustenance.
Yet if Broken Blossoms has the cast of lyric poetry, it is lyric poetry dramatized by the intrusion of other modes. Griffith creates a tension of manner that constantly places the idyll in jeopardy, forcing a confrontation between the interior, private world and the harshness of the exterior, physical one. His obsessive opposition of idealism and necessity appears in contexts ranging from the plight of his virginal heroines in Biograph one-reelers to Belshazzar’s flamboyant paradise destroyed by the barbarous Persians in Intolerance. The configurations of Broken Blossoms are particularly successful in animating conflict with paradox.
The Yellow Man gives Lucy the doll she admired in his shop window. Gish is at her prettiest here. She passes from childish delight to maternal tranquillity, expressing love for the doll surrogate that cannot be directed to the Yellow Man. The gesture with the doll’s hand on her cheek is a. structural link between this scene and the finger-smile sequences. Instead of a tortured smile, the doll’s hand induces a rapture that extends the characterization. In this shot Gish combines emblems of little-girlhood and womanhood to sustain the allegerical pattern of the film. We and the Yellow Man perceive an essence of femininity, granted shape and scope by the stylization of a woman playing a fifteen-year-old who plays at being a woman.
If in the moon sequence Barthelmess enacts the proximity of spiritual and physical love, it is now reiterated in a different, more strident key. He corrupts Gish’s child/woman portrait with a terrifying close-up of menacing lust.
The poles of the film are disturbingly close in this sequence, providing an ambiguous current for Griffith’s abstractive characters. One of the triumphs of Gish and Barthehiiess is the pulse they make throb beneath the conceptual surface Griffith imposes on Lucy and The Yellow Man. Broken Blossoms is most emphatically an acted poetic allegory.
The sexual ambiguity of the Yellow Man’s gestures toward Lucy is further complicated when Battling Burrows discovers his daughter at the shop. Griffith uses precisely the same kind of terrifying close-up to express the father’s rage. By treating lust and fury similarly, Griffith throws awry the pat polarization of characters and concepts: Yellow Man/peace and Battling Burrows/war. The disorientation of these values will be finally accomplished when Barthelmess— who was to bring Buddha’s message to the West; who enshrined poor Lillian Gish in his personal temple—standing next to an illustration of prizefighters, faces down and shoots Donald Crisp.
The hunched stance is apt for expression of both irony and menace. Up to the film’s last minutes, Griffith generates a crescendo of terror, pain, and violence following Burrows’s entrance into the love nest. The precious enclosure and the hermetic lovers are rent asunder; the words of the lyric poem are disarranged and strewn across the now familiar areas of the film. If the audience feels panic during the denouement of Broken Blossoms, it is because the elegiac rhythm and the idealized surface have been so radically altered. The stillness of epiphany is shattered by extremes of theatricality, modes borrowed from melodrama that test the integrity of the poem with the purity of their excess. Broken Blossoms is as much a clash of literary styles and shapes as a clash of ideologies.
At this point in the film the particular strengths of Lillian Gish are given their greatest and most fulfilling challenge. Torn from her bed and thrown to the floor, she witnesses her father’s destruction of the room with only a hint of the expression of fear that she will eventually summon.
Still clutching the doll, she is dragged down those familiar streets, home through the fog. Then Crilfith cuts back to Barthelmess and his discovery of the wreckage and her absence.
Barthelmess’s despair and anguish, his sell-abandonment, prepare for Gish’s great scene. All of their acting in miniature, in repose—acting that aimed toward the private center of their poetic existence— is now reversed, and the walls no longer seem adequate to contain their performances. As the world breaks in upon them, each responds with frantic extensions of their beings into the physical universe. Barthelmess’s hysteria is stylized Chinese; Gish’s version goes beyond recognizable style.
A particularly inspired invention locates her explosion of hysteria in a closet, the film’s smallest space. The general pattern of containment is both respected and supremely violated, This most circumscribed area, suited to the interiority of the lyric poem, provides a frame for the screen’s rawest manifestation of unchecked emotion and frenzy . Gish presses herself to the closet wall. Then begins a confrontation between actress and closet, and an assault on our collective claustrophobia that set a standard for any subsequent scene of enclosure. The space is delimited by body, hands, eyes, and face.
Lillian Gish in Broken Blossoms – The Closet Scene
Lillian Gish in Broken Blossoms – The Closet Scene
Lillian Gish in Broken Blossoms – The Closet Scene
Lillian Gish in Broken Blossoms – The Closet Scene
Lillian Gish in Broken Blossoms – The Closet Scene
Lillian Gish in Broken Blossoms – The Closet Scene
A sense of duration unfortunately is not conveyed by the frame enlargements. The camera relentlessly records Gish, and she spares the audience nothing, forcing it to share the plenitude of her suffering. The sequence is finally modulated; Gish reassumes the crouching position, drawing herself into a corner, while Crisp hacks at the door. When he reaches through the opening he has made, the conflict between their worlds is conveyed in purely spatial terms.
All the confines are breached as Lucy is pulled through that same opening, her spirit raped as she passes from one realm into another. Griffith is fiendishly inventive in scenes of menace, as Broken Blossoms demonstrates. The final beating features a tapping motion with the phallic whip handle, a disquieting prelude to the fatal strokes that we do not see.
Lucy is left alone to die. Isolated now by her pillow, she still clutches the doll that links her to the Yellow Man, but also veyr much her father’s daughter, she composes her final “smile.”
In a shot that seems to be held forever, her death connects the various attitudes and spaces of Broken Blossoms: the peace of the Yellow Man’s room, the agonizing smile-poem, and the bruises inflicted by Battling Burrows.
The stillness is interrupted by the confrontation of the Yellow Man with Burrows, but it is resumed in the final sequence by an ineffable cadence of echoes of posture and placement. Lucy is returned to her altar to be venerated along with the other icons, and her death is consecrated through the joy and passion of Barthelmess’s suicide.
Peace is restored and the pattern is completed by the sublime tilt of the head, which forms the proper closure of the poem that was begun when the Yellow Man first leaned against the brick wall. Between these wedded images Lillian Gish and Richard Barthelmess act out the impossible, escaping from themselves through a refinement of gesture and stance to incarnate a totality of being that ranges from the most exquisite presence of flesh and pain to the airy reaches of aureoles and karma. That is the scope of Broken Blossoms.
Lillian Gish Promotional – Broken Blossoms, Full Frame – James Abbe 1919 b
Lillian Gish Promotional – Broken Blossoms, Full Frame – James Abbe 1919 a
Lillian Gish Promotional – Broken Blossoms, Full Frame – James Abbe 1919 c
Gish was always Griffith’s little girl/very young lady. Her vulnerability to menace was sublimely appropriate to the complex of reverence and sadism that qualified Woman in his imagination.
The two plot elements most common to all film are love and crime. Love is an emotion; crime a physical act. Between them, singly and more often jointly, they provide the motivation—and the linking narrative thrust—of most films, whether they be comedy, horror, science-fiction, or from any other genre. Even when history is put on the screen, its facts are often reemphasized (or totally rewritten, as in Suez) so that love is frequently the force which changes the destiny of nations. And political decisions, in actuality formed by expediency, economics or patriotism, are frequently diverted and debased, becoming the criminal acts of greedy individuals. There are films which contain neither love nor crime, but they are rare and if one were to make up a list of such films, one would probably find it heavily weighted in favor of the documentary —the only genre that might totally avoid both ingredients, although one might argue that the documentary is frequently utilized to protest “social crime,” and that that kind of injustice is as dramatic as straightforward lawbreaking.
If the word “love” is ambiguous, then the phrase “love story” as related to film (or play or novel) is more ambiguous still, and frequently overlaps into what one can only term the territory of the “romantic” film (or play or novel). A great love story is usually made “great” by the power of its theme or the passion of its playing; a great “romantic” film, however, depends far more on a welding of those elements with others—particularly the elegant stylistics of writing, directing and photography.
I suspect that the further evolution of love in film will be increasingly more clinical and correspondingly less romantic, and I shall be happy to leave the updating of this volume to other less sentimental hands.
Two factors continued to work against the development of the genre at least until 1920. One of course was the Victorian sense of romance and melodrama that still pervaded the movies—and the phrase “Victorian” is meant not in a critical sense, but in a purely descriptive one, for the Victorian age had literally passed into history only a few years earlier. The movies, and the stories and novels on which they were frequently based, were still concerned with simple and well-defined virtues and vices. The virtuous heroine was juxtaposed with the dynamic and aggressive vamp; between them, they could offer pure love—or impure sex. But there was no shading, no mingling of the two extremes. This did not preclude the making of good movies, but it did rather shift the emphasis into the areas of romance, or straight drama. Mary Pick-ford’s Stella Man’s (1918) is both a very good and an incredible film—the latter because it chose to fly in the face of Pickford’s popularity, and present a decidedly grim story. It’s about wasted love and thwarted love rather than fulfilled love.
At the other end of the spectrum one finds a film like A Cumberland Romance (1920) starring Pickford’s leading rival, Mary Miles Minter. It’s appealing because of its very simplicity and “prettiness”—lovely outdoor locations, superb photography, and a magnificent use of tinted and toned stock. Between these two extremes, there were the Cinderella romances of Lillian Gish and Mae Marsh, the heavier romantic dramas of Norma Talmadge, and the frothy romantic comedies of her sister Constance. There was nothing wrong with these films. They were escapist and they were entertaining; they more than met the demands of fans and exhibitors; and because the industry was not yet geared to aggressive competition (it had no need to be, since it was the entertainment medium, with radio still in the future, and television but a science- fiction dream) the films deliberately cultivated a “sit-back-and-be-entertained” manner, and rarely came to grips with life in the way necessary to produce a really moving love story.
Then there was a second factor to be taken into consideration. The enormous success of D. W. Griffith’s The Birth of a Nation in 1915 eased, and even encouraged, the segue into much longer films. But it also, unwittingly, dictated their shape too. Producers, impressed by the money it had made, and directors, in awe of Griffith’s filmmaking genius, used it as a pattern, and at least until 1920, the majority of films were made in its image. There were subplots to cut away from—and to; interwoven characters; flashbacks; spectacular climaxes that were built mathematically. This made for some extremely lively films, but it didn’t help the cause of good acting—or the creating of sustained characters, so essential in a love story. One of the reasons that Mary Pickford was such a reigning star in the teen years was that she was one of the few female stars big enough to control her own image and the construction of her own films. With all their variety (comedies, dramas, westerns, costume pieces, tragedy), she remained the point of focus throughout. She was able to build and sustain a characterization that was not fragmented by the demands of a narrative where editing and cross-cutting were the paramount concerns. True, the fast pacing of films in this period did not prevent great performances.
Mae Marsh’s acting as the young wife and mother in Intolerance (1916) is both brilliant and moving; but it is even more so in the source film. The Mother and the Law (1914), which Griffith cut and reshaped and used as the centerpiece for Intolerance, surrounding it with French, Biblical and Babylonian stories. Griffith’s later Hearts of the World (1918) had all the potential for being a really tender love story as well as a war spectacle, in its depiction of a young love torn asunder by the war, during the course of which the young bride is driven to temporary insanity.
Hearts of The World
Hearts of The World
Hearts of The World
Lillian Gish’s performance was her subtlest and most mature to that point, but all too often, having reached peaks of emotion or hysterical intensity, the film just drops her, reverts to action and melodrama, and by the time it picks her up again, the momentum is lost. The movies’ pre-1920 years are by no means barren ones. The films of those years have youth, innocence, vitality and optimism—both in their plot content, and in their own style, for they are made by directors possessed of those same qualities, and excited by what they are discovering about film. But basically, the films of those years appeal to the senses rather than to the emotions. While the selection of only two films to illustrate this period is obviously arbitrary, it is perhaps significant that both are the result of the collaboration between two of the foremost artists of the period—D. W. Griffith and Lillian Gish.
The Mothering Heart
American Biograph, 1913.
Directed by D. W. Griffith. Camera: G. W. Bitzer.
With: Lillian Gish, Walter Miller, Viola Barry, Charlie Murray, Kate Bruce.
It is not at all unusual to find exceptionally strong dramatic stories in the one- and two-reel pre-feature films of 1910 to 1913. The sheer number of them, and the need to maintain as much variety as possible, meant that some pretty offbeat material was offered, accepted and produced, merely because of the need to keep up a steady stream of production. Too, the star system was not realty established as yet, so that audiences would not be disappointed or dismayed if a favored player turned up in an unsympathetic role, or in a tragic one. Finally, the mass audience for movies was still an essentially working-class one, bolstered by the still very large waves of immigrants. While one might have assumed that this kind of audience was the one for which escapist entertainment would have been most in demand, at the same time the more progressive directors—and certainly D. W. Griffith headed the list—also felt that the audience would respond emotionally to problems and situations it knew and understood on its own merits.
The Mothering Heart—a film that runs for only about sixteen minutes—is hardly a permanent classic. But in a comparative sense it is; for 1913 it is daring both in its content and in its faith in the ability of an audience to recognize all its subtleties. Griffith’s short films for Biograph between 1907 and 1913 can very roughly be divided into two groups: the chase films, melodramas, Civil War stories and Westerns which he made primarily to develop and polish new methods of editing and the staging of action, and those other films—ranging from Tolstoy’s Resurrection to Norris’s A Corner in Wheat—where theme was more important than technique. A number of the latter group had included quite strong little emotional stories, usually involving redemption in one form or another (particularly the reformation of the alcoholic), but there were relatively few bona fide love stories.
The Mender of Nets 1912 still frame
The Mender of Nets 1912 Poster
The Mender of Nets 1912 Poster
One exception was the the already mentioned 1912 The Mender of Nets, in which the hero (Charles West) loves the beautiful fisherman’s daughter (Mary Pickford) but in an earlier liaison has made another girl pregnant—this latter role played surprisingly well by Mabel Normand, her normal vivacity covered by nondescript clothing and makeup which makes her look plump and relatively plain. (The parallel with Elizabeth Taylor and Shelley Winters in A Place in the Sun is quite striking.) The wronged girl’s father tries to kill the erring lover, but is prevented from doing so by Pickford, who, sacrificing her own happiness, persuades the boy that his duty is to marry the other girl. The film concludes with a lovely close-up of Mary Pickford, sitting outside her hut atop a cliff, helping her father with his fishing nets and, with a sigh of wistful resignation, remarking that ‘”Somebody has to mend other people’s broken nets.” With its maximum use of rugged outdoor land- and seascapes, striking closeup images and dramatic editing, A Mender of Nets was one of Griffith’s most sophisticated films to 1912. It is a measure of the incredibly rapid strides he was making at that time that The Mothering Heart, made only the following year, seems infinitely more mature.
It starred Lillian Gish and Walter Miller, a romantic duo that Griffith used in a number of films of the period (The Musketeers of Pig Alley and An Unseen Enemy were others). As in his later romantic teaming of Mae Marsh and Robert Harron, the feminine role was the stronger and more dramatic one. The male’s role was to be weak, passive, sometimes even unsympathetic.
In The Mothering Heart, Lillian Gish and Walter Miller are a young, happily married couple. On a visit to a nightclub, however, the husband attracts the attention of a flirtatious woman at a nearby table, and is infatuated with her. In the ensuing weeks, he deceives his wife and carries on an affair with the woman, totally under her spell, though to her he is merely a passing adventure. He is away from home so much that he is unaware that their young baby is ailing. The baby in fact dies, and in a most remarkable scene, Lillian Gish, as the distraught mother, wanders almost somnambulistically into their garden and then, in a frenzied paroxysm of destruction, seizes a hoe and hits out at all the plants and young trees, seeking to kill them.
Then, returning to her trancelike state, she returns to the house where the husband—chastened by the discovery of the death of his child, thrown over by the other woman who has gone on to another affair—is waiting for her. At first the wife is hard and unforgiving; then, unwittingly, she finds the dead child’s pacifier in the crib. There is a full screen closeup of her hand fondling the head of the pacifier—the borders of the screen blacked out to emphasize the action, which must be one of the first examples of explicit sexual symbolism on the screen. Then she almost thrusts the pacifier at her husband. The climax is thus not so much one of a happy reunion, but almost one of desperation, the wife suggesting that only via another child does their love, and their marriage, stand a chance of survival.
As if fully understanding the psychological depth and importance of his story, Griffith gives The Mothering Heart quite surprisingly elaborate production values. The nightclub is exceptionally spacious, yet in keeping with the kind of enlarged roadhouse that it would have been in its suburban California setting. The details of decor and clothing (particularly in respect to the contrasting hats and dresses of the two women) are carefully thought out, and the bit players well chosen. The tall, handsome, muscular uniformed doorman of the nightclub seems to have been cast just for the effect of one scene towards the end. Initially, since he always opens the door for the straying husband and his new paramour, he seems to symbolize the glamour of the new lifestyle he has assumed. But when the husband is finally tossed aside by his temporary mistress, the action takes place outside the club doors. The husband’s shame is compounded by the contempt of the doorman, who smiles superciliously at this expected turn of events. Because he is a tall, striking figure—much taller than the husband —it is possible for that all-important smile of scorn to register without Griffith going into a closeup to underline it.
Subtle, underplayed acting was a trademark of the better Griffith Biographs; Blanche Sweet, Henry B. Walthall, Mae Marsh and others had all, by this time, given performances which even today, hold up by virtue of their sensitivity and restraint and need no apologies or explanations. Even so, the three lead performances in The Mothering Heart are quite exceptional. Although only in her mid-teens, Lillian Gish is utterly convincing as the more mature mother—as convincing as she was as the naive teenager in True Heart Susie, which she was to make for Griffith some six years later. Moreover, she manages to downplay her own beauty, to make the mother serious, even a little dowdy, so that the husband’s straying to the exciting other woman becomes understandable. Walter Miller, as the husband, is likewise restrained and sincere, and suggests that he might well have become a major actor had not his striking good looks and virility sidetracked him into a career as a serial hero, where he developed a series of poses and mannerisms that stayed with him until the end of his career in the early 1940s.
But perhaps the most exciting performance of all is that of Viola Barry as the adventuress. She wasn’t the first screen vamp—Helen Gardner had beaten her to the punch—nor was she the most famous since, from 1914 on, Theda Bara assumed that role. But in 1913, she was certainly the best, and her interpretation so modern and subtle that it works even today. Facially, she had the finely-chiseled features of Mary Astor—but coupled to the voluptuous body of that twenties vamp, Nita Naldi. Her low cleavaged gown was worn with tremendous style, as though she was totally unaware of the effect it was having on her victims. Moreover, there was nothing obvious or “sinful” about her vamping approach. She was able to snare Walter Miller’s attention (and ours) with a glance. Her attraction was enhanced by the fact that Griffith did not see fit either to condemn her as an “evil woman” or to punish her. She merely goes on to another adventure at the end of the film; it is Miller, the husband, who has “sinned” and is punished. In the rather clear-cut separation between “good” woman and “bad” that characterized American movies of the teen years, Viola Barry would have had rather tough sledding. She was too healthily sexy to fit into the fashionable niche for screen heroines, yet too attractive to play vamps, who had to come off second-best to the virginal heroines. Fortunately, she was married to up-and- coming director Jack Conway, and a career was not uppermost in her mind—though her beauty, casual elegance and real acting style in this film suggest that her lack of ambition was a major loss to the silent screen.
In any event, whether one classifies The Mothering Heart as a love story, a romance, or an emotional drama, it is an almost Freudian film, and very probably the first American film that can make that claim.
True Heart Susie
Directed by D. W. Griffith.
Scenario; Marian Fremont.
Camera: G. Bitzer.
With: Lillian Gish, Robert Harron, Loyola O’Connor, Walter Higby, George Fawcett, Clarine Seymour, Kate Bruce, Carol Dempster, Robert Cannon.
One of a group of films loosely referred to as “rural romances,” True Heart Susie came, in one sense, midway in Griffith’s career. The initial spectacles. The Birth of a Nation, Intolerance and Hearts of the World, were behind him; the big spectacles of the 20s (America, Orphans of the Storm) lay ahead. At this particular time, Griffith was trying to retrench financially—his entrapment by bank loans and other debts had already begun—and also to put the war behind him, and deal with the people and the landscapes of his childhood in Kentucky in a series of less ambitious but often lyrical little films. True Heart Susie is one of the best of these, and certainly the most romantic, but one sees it today under a disadvantage. No original negative or prints appear to have survived, and all circulating copies in this country and elsewhere seem to derive from a copy held by the British Film Institute in London—itself far from a really good print. The interiors of the film now seem black and shadowy, and the exteriors lack the radiance of the sunshine. Fortunately, a similar if lesser Griffith film, 1920’s The Greatest Question, does survive in the form of one or two good prints made from the original negative, and by studying that, with its superb lighting and dramatic use of landscape, one can at least mentally project True Heart Susie with all the pictorial beauty it once had. It is quite a tribute to the film, and the sensitivity of the performances by Lillian Gish and Robert Harron, that it plays as well as it does despite the handicap of dark and lackluster prints several generations away from the original.
Griffith, ever the showman (though he often pretended not to be), was aware that after his earlier spectacles audiences expected something “Big” from him, constantly tried to add stature to these smaller films by portentous opening titles. True Heart Susie opens with a title claiming that every incident in it is taken from life, and goes on to dedicate itself to all the women of the world who wait for the great love that never comes. Actually, 1919 audiences might have been equally impressed had Griffith just leveled with them and admitted that True Heart Susie was an amalgamation of themes from Charles Dickens, the author whose influence (both structurally and thematically) was to dominate Griffith’s work. Most specifically, True Heart Susie derives from Great Expectations and the latter portions of David Copperfield.
Its underlying theme is quite simple. Susie, very much in love with William—who only halfheartedly reciprocates—scrimps and saves to put him through college. He is unaware of her sacrifices, thinking his benefactor to be a stranger from the city who once passed through their rural community and promised to help. When he returns from college, ready to take a position as minister, Susie assumes that they’ll marry, and misinterprets several of his remarks as a confirmation of that. However, his attention goes to the gaudy Bettina—all paint, powder and silk stockings—and it is she that he marries.
Bettina however, only wants the security of the marriage, and after the wedding is a poor wife, who looks slovenly about the house, won’t cook hot meals, and complains of boredom. Both Susie and William think wistfully of what might have been, but never confide their thoughts to each other—and when Susie realizes that Bettina is deceiving William, she keeps quiet about it. On one occasion, Bettina sneaks away to a wild party with her friends, on the way collecting a book that her husband needed. The party breaks up late, and Bettina is drenched in a torrential downpour. She contracts pneumonia, and William feels responsible, knowing nothing of the party and thinking that it was all brought about by her thoughtful act in collecting the book for him.
On her deathbed, Bettina is about to confess, but William prevents her and, to quote a rather lovely Griffith subtitle, “She dies as she lived—a little unfaithful.’’ Despite the previous emptiness of his marriage, William is so moved that he vows never to love or marry again, and Susie is too loyal to him to tell him the truth. Inadvertently however, the truth does come out, and, belatedly, William and Susie are married. It is a simple story, simply told, with no need for the subplots or intercutting of Griffith’s more ambitious works. (Actually, Griffith’s cutting in the post-intolerance period tended to remain innovative in conception, but to get increasingly slipshod in execution—and True Heart Susie offers early evidence of Griffith’s carelessness in this direction, although the non matching cuts are not as serious or as obvious as they would be in the following year’s Way Down East.)
The film really wins one over by its sincerity and by the strength of its performers. Its beginning is not too promising. Lillian Gish’s Susie seems so much the innocent trusting child that marriage to her would seem to offer very little. (Comedian Harry Langdon seems to have based many of his expressions and pantomimic gestures on Lillian Gish’s performance in this film, and occasionally— through no fault of hers—one has the uncanny feeling of watching Langdon rather than Gish, which also tends to downplay the romantic involvement.) Robert Harron is first seen as a rather gawky youth, and his metamorphosis into a far more mature man (aided by a moustache to which he calls attention by constantly preening it) shows again what a remarkably subtle actor Harron could be. But his slighting of Susie gains him little audience sympathy; one can hardly blame him for choosing the more exciting Bettina, and yet at the same time one feels that in a way they deserve each other.
It is at this point that the film shifts gears, and stops telling its story only in terms of incident. From here on in there are far more close-ups of both Gish and Harron in which their sadness and isolation is conveyed by the subtlety of facial expression and Bitzer’s lighting. Perhaps too, in this latter portion of the film, there is more drawing upon the original plot construction of Dickens, who, quite unknowingly of course, manipulated people and details in a decidedly cinematic manner.
Whatever the reasons, the film becomes both touching and moving in its final third, and many of the apparent loose ends of the opening suddenly fall into place. Earlier it had been established that Susie and William never quite managed to kiss—even when he was going away to college. Both tried, sincerely but clumsily, and both withdrew before the kiss could be accomplished. This awkwardness is maintained until the penultimate scene, when William approaches Susie to admit his love and propose marriage. Even here, Griffith keeps them apart: Susie is seen at the window of her cottage, leaning out to water flowers; William is shown only as a hesitant shadow.
The final scene is a repeat of one of their years- earlier walks down a country lane, and a closing title hopes that they’ll be happy, and asks the audience to imagine their rekindling the love of their earlier, innocent years. There’s no doubt that it’s a happy ending—yet the sense of possible separation, and the shadow of the unhappy marriage to Bettina, is retained. It’s a subtle and mature ending to a minor Griffith classic which offers a great deal more sophistication and emotional depth than, might at first seem apparent.
Classics of The Silent Screen – By Franklin Joe (1959)
Lillian Gish, more than any other star, has always symbolized the silent screen heroine. Of course, she was more than just a “heroine” and all that that hackneyed word implies. An actress of fragile beauty and astonishing sensitivity, she was not only the first lady of the screen, but one of the great actresses of all time.
John Barrymore, excited over her work in Way Down East, wrote to her that she had even surpassed the work of Duse. And Griffith (several years after Miss Gish had made her last film for him), when asked if he really thought that she was the screen’s foremost actress, shrugged his shoulders and replied:
“Who is greater?” Initially it seemed that Lillian Gish was more valuable to Griffith for her looks than for her acting ability. She had (and in fact still has) that ethereal, not-ofthis-world look, a birdlike fragility from which emerges sudden, unexpected strength.
She was the epitome of what Griffith wanted in a heroine visually. But, in the early Biograph days at least, and through the Triangle period (until 1917) it was Mae Marsh who was the better actress. Or at least, it was Mae who was given the roles that demanded acting ability rather than a beautifully wistful and expressive face.
In early one-reelers like The Musketeers of Pig Alley (1912), and The Mothering Heart, Lillian was exceptionally fine, but she really began to mature as an actress after 1917, in films like Hearts of the World (the scene in which she wanders through a war-torn battlefield, clutching her bridal veil, searching for the body of the boy who was to have been her husband, was heart-rending), and the lovely little rural romance True Heart Susie, one of the unsung classics of the American screen.
Then came Broken Blossoms and Way Down East, which, by 1920, quite firmly established her as the screen’s foremost actress. Strangely enough however, although she had learned so much -from Griffith, and was so devoted to him, some of her best work came after she left him. To Griffith, the story was the thing—and for him, it was the right way to work. His pictures justified his methods.
And those methods did not include “showcases” for virtuoso performances, although Way Down East, with a simpler story-line than usual, and more stress on the one character of Anna Moore (played by Miss Gish) came closest to being a star vehicle.
Lillian’s scenes with her dead baby are still among the most poignant moments to be found anywhere on the screen. Miss Gish of course had no complaints against Griffith’s methods, and went on to make Orphans of the Storm for him. But it was obvious that as an actress she could develop no further in Griffith’s films, and so the two, quite amicably, came to a parting of the ways. Miss Gish’s films thereafter were more infrequent, and more carefully selected.
Not all were wisely selected, and Romola, despite a huge budget and lengthy location work in Italy, was a cold and stodgy film, lovely to look at, but little else. Miss Gish’s role gave her little to do but look exquisitely lovely in Renaissance costumes. The earlier The White Sister had been an enormous popular success, of course. Moving to M-G-M, Miss Gish was more than just the highest-priced feminine star on the lot. She had very definite ideas about the art of the film, and managed to imprint these ideas quite positively into her films. King Vidor and others who directed her were impressed. Even when they sometimes disagreed, they respected her integrity and creativity. Most of all, they respected her devotion to the art of acting, and her endurance of hardship and discomfort in the interests of a finer performance. In his autobiography, A Tree Is a Tree, King Vidor describes at great length the rather appalling ordeal Miss Gish subjected herself to in order to simulate death so convincingly in La Boheme.
Miss Gish’s best M-G-M films, La Boheme, The Scarlet Letter, and The Wind presented her with strikingly mature roles, in contrast to the innocent and girlish roles which had fallen to her under Griffith. And yet, of course, so much of that innocent charm remained.
Who could resist Lillian sitting placidly and uncomplainingly in the stocks (in The Scarlet Letter), forcing a smile while her wide eyes were filling with tears, or entreating a pawnbroker (in La Boheme) to pay just a little more for her mittens, so that she can pay her rent?
( Of course, how anybody could refuse an unspoken plea from Lillian’s eyes, let alone be inhuman enough to be mean to her, is a point that often bothered me as I watched her suffering so beautifuly in so many silents!) Miss Gish was devoted to the silent screen, and felt that it had just about perfected a universal language of the arts when sound came along to destroy it. She has made many talkies and has always been superb. But now that the silent screen has gone, her main love is the theatre—and what a rare privilege it is to watch such an outstanding artist at work today! Styles and standards have changed, “The Method” and other modernizations have come and will probably go. Amid all the mumbling that passes for acting today, Lillian Gish’s power and sensitivity and force remains a vibrant and living link with an acting school that has never been surpassed—the school of silent cinema.
Classics of the silent screen by Franklin Joe 1959 Lillian Gish 1
Classics of the silent screen by Franklin Joe 1959 Lillian Gish 2
Classics of the silent screen by Franklin Joe 1959 Lillian Gish 3
Griffith comes back again with his screen version of “Way Down East,” and, as usual, the critics have little to report save good regarding one of his big productions. As has been the case in some of his previous pictures, this old melodrama will henceforth be more popular as a Griffith offering than it has proven during the many years that it has been an old standby on the boards.
Never before have such photography and light effects been accomplished for the screen. These, combined with the unusual settings which proclaim aloud their genuineness, render “Way Down East” the season’s most artistic production by far.
The original plot of the play has been elaborated upon and much invaluable human interest business has been inserted. The performances of the cast are very good and the New England types are excellent. Their action is materially assisted by the music score.
“Way Down East” – Lillian Gish
“Way Down East” – Lillian Gish – Bridal Suite
“Way Down East” – Lillian Gish — Anna Moore
“Way Down East” – Lillian Gish promotional
Lillian Gish – Ice Floe Scene – Way Down East
“Way Down East” – Lillian Gish (Anna Moore’s wedding dress)
Way Down East – “I baptize thee Trust Lennox …”
Lillian Gish undoubtedly does her best work to date as Anna Moore, the featured load. She combines subtly the simple-hearted childishness for which her characterizations have long been known with the hurt reserve that the spirit bruising knocks of a cruel world accomplish so quickly in dazed youth. There are few light touches in her offering, and it is much more effective so.
Lowell Sherman is exceptionally well cast as the heavy, Lennox Sanderson, whom he interprets cleverly. His work is convincing enough to gather for him the complete loathing of any audience.
“Way Down East” – Richard Barthelmess and Lillian Gish
“Way Down East” – Lillian Gish and Richard Barthelmess
“Way Down East” – Richard Barthelmess and Lillian Gish
Richard Barthelmess does David Bartlett, the well remembered ideal young New Englander, with all of his old time juvenile appeal. His characterization is equally good in its tender and its dominant moments.
Burr Macintosh and Kate Price are beautifully cast as Squire and Mrs. Bartlett. It is the home atmosphere that means so much in Griffith pictures.
Mary Hay makes her screen debut in the role of Kate Brewster, the refreshing little ingenue. She is headed toward Dorothy ‘s port with her eccentric comedy mannerisms. Her relief is timely.
Vivia Ogden, Porter Strong and George Neville occasion the more hilarious amusement of the play in the rural characters, Martha Perkins, Jack Setholand and Reuben Whipple. Josephine Bernard, Mrs. Morgan Belmont and Patricia Fruer are somewhat amateurish as the Tremonts, but their footage is limited and consequently means little.
Florence Short, however, creates a type worthy of mention in her four or five scenes as their eccentric aunt. Edgar Nelson as Hi Holler, and Emily Fitzroy as Maria Poole, complete the cast.
The remarkableness and thrill of the ice jam and break scenes, which forms the climax, has never been rivaled. It is as spectacular a sequence as has been filmed, even by this director.
Other producers might follow Mr. Griffith’s example by including many big brains in their organizations, to the advantage of’ their productions and resultantly their own material success.
Way Down East – shooting at Mamaroneck NY 1920
Shooting a scene from Way Down East, Griffith seated below the camera
D.W. Griffith – Ice floe Scenes (Vermont) Way Down East
DW Griffith filming team – Mamaroneck NY – Way Down East
“Way Down East” – Lillian Gish and D.W. Griffith on set
“Way Down East” – Lillian Gish (cast and crew)
Lillian Gish and Richard Barthelmess (Way Down East)
Way Down East – filming the “Ice Floe Scene” (Lillian Gish)
Edited by Bert Cardullo, Harry Geduld, Ronald Gottesman, and Leigh Woods
If the film is the director’s work, then, when we think ofgood films, why do we think of actors as often as of directors? When I remember Way Down East, certainly I recall Griffith’s mastery, but equally I think of Lillian Gish’s body language as her life and status change.
“Way Down East” – Lillian Gish and the eccentric aunt
“Way Down East” – Lillian Gish
“Way Down East” – Richard Barthelmess and Lillian Gish
“Way Down East” – Lillian Gish (rescued) and all cast except Lowell Sherman (Lennox Sanderson)
Way Down East – filming the “Ice Floe Scene” (Lillian Gish)
Scene from D.W. Griffith’s Way Down East, 1920, with Kate Bruce, Lowell Sherman, Lillian Gish, Mary Hay, Creighton Hale and Richard Barthelmess.
Burr MackIntosh (Squire Bartlett) – Scene from Way Down East
The Silent Performance
Griffith’s authoritarian qualities were doubtless strengthened by his fondness for hiring, and then molding, actresses sometimes even younger and less experienced than Marsh. One of these was Lillian Gish, who began working with him while still a young girl and whose exposure to him influenced the rest of her career. In capturing Griffith’s passion for demonstrating effects, Gish makes it clear in her narrative that he possessed a highly developed narrative sense, which he drilled into novices and seasoned professionals alike. By doing so, he helped her and others generate a full – bodied style, capable of expressing emotion without making it seem grotesque. This style, at its best, distinguishes acting in silent films from the acting in films with sound, which was typified by greater restraint.
Before a movie was filmed a player would often get a chance to rehearse each part in the film under [D. W. Griffith’s] supervision. As casting was not decided on until shortly before filming, we were obliged to be familiar with all the roles we had rehearsed. This system taught us range and flexibility. . . .
Once the parts were awarded, the real work would begin. At the initial rehearsal Mr. Griffith would sit on a wooden kitchen chair, the actors fanning out in front of him, and, as he called out the plot, they would react, supplying in their own words whatever was appropriate for the scene. As rehearsals continued, Mr. Griffith would move around us like a referee in the ring, circling, bending, walking up to an actor, staring over his great beak of a nose, then turning away. By the time that we had run through the story several times, he had viewed the action from every conceivable camera angle. Then he would begin to concentrate on characterization. Often we would run through a scene dozens of times before he achieved the desired effect. If we still failed, he would act out the scene himself with exaggerated gestures that he would later moderate in us. . . .
In rehearsals we were expected to visualize the props—furniture where none stood, windows in blank walls, doors where there was only space. Our physical movements became automatic and our emotions completely involved. Most rehearsals were open—that is, the whole staff, actors, workmen, and the men from the laboratory were free to come and watch. Often there would be visitors on the set. Mr. Griffith loved the presence of an audience while his company rehearsed—and rehearsed so effectively that at the end of the scene, the onlookers would be in tears. Later, we learned to withhold, not to give as much as we would if the camera were operating. Film was expensive, and a scene was shot only once, so we conserved our strength for that one take. . . .
During lunch he would help those who happened to be eating with him. If an actor did not know what to do with a character, if he was baffled and could not get insight, Mr. Griffith would say: “Well, haven’t you seen someone like this in your life? Go find him. Go get an idea from someone, and bring it back to me, and let me see if it’s any good. I can’t think of everything! I’m writing the whole story. You have only one character to worry about, so you try to round it out and make it real and whole!” . . .
I would often be called in to rehearse parts for the more experienced actresses, who would sit by and watch me to see how the story unfolded. They thus gained perspective on their roles. Afterward I was allowed to stay while the more experienced players took over. Changing places in this way proved to be beneficial both to the craftsman and the novice. I often saw the scene again in the darkroom, thus learning how to correct my mistakes and profiting bv the skill of the others. . . . I won the role in The Mothering Heart, ancl it turned out to be a milestone in my career, primarily because, with two reels to work with, Mr. Griffith could concentrate more on the effects that he wanted and exercise more subtlety in his direction. During the filming I worried that I was overplaying. But when I looked at the rushes during a lunch break, I asked Mr. Griffith why none of it showed on the screen. He explained: “The camera opens and shuts, opens and shuts with equal time—so half of everything you do isn’t seen. Then take away the sound, and you lose another quarter. What’s left on the screen is a quarter of what you felt or did—therefore, your expression must be four times as deep and true as it would be normally to come over with full effect to your audience.” He taught us that false emotions never move an audience, that you cannot make viewers cry with make-believe tears. “The first thing an actor needs is soul,” he said. “The actor with soul feels his part, he is living his role, and the result is a good picture.” . . .
He made it clear to us that acting required study. “No matter where you are, watch people,” he told us. “Watch how they walk, how they move, how they turn around. If you’re in a restaurant, watch them across the table or on the dance floor.” Whenever he saw some behavior pattern that intrigued him, he would use it at an appropriate moment in one of his pictures. “Catch people off guard,” he reminded us continually. Sometimes, at the end of a shooting session, he would talk with those of us who remained to watch the rushes. “Too many of us walk through life with blinders on our eyes. We see only what concerns us, instead ofwhat goes on around us. Let’s take a scene that is played again and again every day—one that we see and yet do not see. Let us imagine ourselves standing on a street corner. A pretty girl is waiting at the curb for a bus. A commonplace, undramatic event. Nearly every corner has a pretty girl waiting for a bus. But suppose we already know one fact—if the girl misses her bus, she’ll be late for work. If she’s late, she’ll be fired. Let us begin then in the morning, when she comes awake abruptly in her room. We close in on the face of the clock to see the time. We watch her dressing with frantic haste. We see her drinking coffee. We show the hand holding the cup. It is trembling. We are becoming involved in the multitude of details which clothe every human event. When the girl leaves the house it is raining; she rushes back for an umbrella. Then we see her last-minute dash through the rain puddles for the bus. All of this, mind you, set against a montage of the hands of the clock moving and a backdrop of the office she is trying to reach. If we saw all this, we would be reliving our own tensions in similar circumstances, simply because we have been made to see it in all of its parts.” And he would repeat the familiar cry, “I am trying to make you see!” To learn about human nature and to build our characterizations, we visited institutions normally closed to young people. At insane asylums, for example, we were escorted through wards by nurses or the doctors themselves. . . .
I sympathized deeply with all the patients. They may have been aware of my compassion, for one day when the nurse left the ward for a moment a young woman shuffled over to me. She whispered: “I’m no more insane than you are. My relative put me in here for a purpose. Here’s my mother’s telephone number. Call her and tell her to come and get me. I’m unjustly confined.” She sounded completely rational. Her appeal touched me, and I took the number. Just then the doctor entered and looked at her shrewdly. “Mary, why did you break the window this morning,” he asked, “and then take the glass and cut your leg?” She regarded him innocently. “But I had no pen. And I had to write with something.” Later, when I was faced in a film with a scene that required knowledge of insanity, I had seen enough of its physical manifestations to convey the necessary range of emotions. During the filming of The White Sister many years afterward, I drew on my knowledge of epilepsy for one scene; it proved an effective way to register shock. Whenever I had doubts about the appropriate reactions to certain situations, I would consult an expert on the subject.
Lillian Gish as Elsie Sroneman in Birth of a Nation
Lillian Gish as Lucy Burrows in Broken Blossoms
Lillian Gish – Sold For Marriage 1916
Lillian Gish in Way Down East
Dying, she gives her last little smile to the world that has been so unkind… (Lillian Gish – Broken Blossoms)
Mr. Griffith always emphasized that the way to tell a story was with one’s body and facial expressions. “Expression without distortion,” he always said. He meant, “Frown without frowning.” Show disapproval without unsightly wrinkles. The only makeup he suggested was a golden tone, an idea he borrowed from Julia Marlowe, with whom he had acted and whom he admired tremendously. I learned from him to use my body and face quite impersonally to create effects, much as a painter uses paint on canvas. Later on, when I worked with other directors, I would hang a mirror at the side of the camera, so that in a closeup I could see what effect I was producing. Mr. Griffith kept constantly at his young players: “Let me see you walk with happiness. No, not gaiety, that’s something else. That’s better. Now, with sadness—not sorrow. Now—with comedy, tragedy, sickness, blindness. Now. let me see you run in all these ways. Some of you move like wooden Indians. Must I open a dancing school to teach you flexibility?” He and I used to have a constant argument on one point. When I played a young girl, he used to have me hop around as if I had St. Vitus Dance. “Young girls don’t do that,” I complained. “How else can I get the contrast between you and older people, ifyou don’t jump around like a frisky puppy?” he asked. Then, imitating a young girl, he would get up and hop about, shaking his balding head as if it had a wig of curls. A stranger would have thought him mad. We were encouraged to train our bodies for acrobatic pantomime, which was particularly useful when the camera was shooting from a distance. We were also called upon to perform the most dangerous stunts. None of us ever objected; it did not occur to us to object. I studied fencing with a teacher named Aldo Nadi. He approved of my good eyesight and long legs and told me that in two years he could have me ready for the Olympics. But I was interested in fencing only as an adjunct to acting. I alsojoined the Denishawn Dancing School, studying with Ruth St. Denis and Ted Shawn, whose pupils—among them Martha Graham—have since won acclaim for their great talents. Their large living room had been converted into a studio with mirrors and practice bars, and later, while Miss Ruth and Mr. Ted were on tour, Mother rented it so that we could practice early in the morning and late at night. Within a few years my body was to show the effects of all this discipline; it was as trained and responsive as that of a dancer or an athlete. Mr. Griffith also encouraged us to take voice lessons to develop strength and proper breath control. His studio was certainly no training camp for weaklings; the working hours were unlimited, the demands unpredictable. Under Mr. Griffith’s tutelage, some of the younger girls of the company also had a small, impromptu class. Strindberg, Schopenhauer, Nietzsche — we read them all with earnest, patient concentration. We might not have absorbed all the ideas, but we tried awfully hard. I myself was seldom on the set without a book under my arm. During that time I developed an admiration for anyone who knew more than I did, and I must confess that the feeling is still part of me. We also were expected to search for possible story material, reading everything in the public domain. We would find promising stories, change the locales, and use the characters and situations in our films. Mr. Griffith urged us to mingle with audiences in movie theaters to observe their reactions. “It doesn’t matter how you feel when you’re playing,” he said. “I’m not interested in that. I’m interested in what you make an audience feel. You may be crying or having hysterics, but if you’re not making the audience feel that way, you’re not any use to my story. Go to a movie house and watch the audience. If they’re held by what you’re doing, you’ve succeeded as an actress.” I have often sat in the balcony, staring at faces to measure the effect of a scene. More than once I’ve put my face directly in front of a spectator’s face; instead of being distracted, I found, he would move his head aside in order not to miss a second of what was happening on the screen. Then I would know that I had achieved what I was striving for. . . .
The essence of virginity—purity and goodness, with nobility of mind, heart, soul, and body—is the stuff out of which, under [Mr. Griffith’s] prompting, I created heroines. He made me understand that only governments and boundaries change, that the human race remains the same. . . .
John Gilbert and Lillian Gish (Rodolphe and Mimi) The last scene of La Boheme
LA BOHEME, John Gilbert, Lillian Gish, 1926
Lillian Gish and Roy D’Arcy in a scene from La Boheme
LA BOHEME, John Gilbert, Lillian Gish, 1926 the dispute over the play
. . . Before Mr. Griffith would begin filming any production, he would rehearse the entire film from beginning to end. Other directors, I discovered, simply rehearsed each individual scene before it was filmed. I wanted full rehearsals on La Boheme; I had never worked without them. Through them an actor could develop his character, grow used to his partners, time his scenes, and set his tempo. This approach wasn’t known at M.G.M., nor was my method of rehearsing. It didn’t take me long to see that the other players were greatly amused by my actions—opening doors that weren’t there, going up and down stairs that didn’t exist. When they tried to imitate my actions, they simply became embarrassed. I could not impose my kind of rehearsal on the others, nor could I object when they wanted music for their scenes. I had never had music before, and I simply had to close my ears and continue working. The music was fine, of course, when I wasn’t trying to concentrate on a scene.