Et la femme créa Hollywood (2016) Entire Documentary

Et la femme créa Hollywood (2016)

Very few people know that Hollywood was largely dominated by women as filmmakers in the 1910s and 20s, there were more women producers and directors in powerful positions before 1920 than at any other time in the motion picture history. Their names were Lois Weber, Mary Pickford, Frances Marion, Alice Guy Blaché, Dorothy Arzner etc … Before the Big Crash women were creatively working in Hollywood at all levels. Unbelievable as it may seem, it took until 2010 for a woman – Kathryn Bigelow – to receive an Oscar for Best Director! Casting in the documentary includes the most successful women to date, Paula Wagner, producer and business partner of Tom Cruise, Robin Swicord, screenwriter and Lynda Obst, producer of, amongst others, Sleepless in Seattle, Contact and Flashdance. And Lillian Gish and Sherry Lansing (archives)

1920

American actress Lillian Gish (1893-1993) makes her only foray into directing with Remodeling Her Husband. In an “all-woman” production, Gish co-writes the screenplay with her sister Dorothy, who also stars, and recruits the American writer Dorothy Parker to write the intertitles.

In 1919 Lillian Gish was one of Hollywood’s most respected performers and D. W. Griffith’s favorite actress. That year, confident that her knowledge of the movies was equal to his own, Griffith asked her to direct a movie starring her sister Dorothy for Paramount. Convinced that women had already proven to be proficient directors, Gish happily accepted the offer. Griffith gave her a $50,000 budget and total liberty in the production. He also asked, however, that she supervise the conversion of a recently acquired Long Island estate into a studio, which was far from properly equipped for film production. It proved to be an enormous task, but she completed both it and the film successfully.

The first talkie was directed by Alice Guy, the first color film was produced by Lois Weber, who directed more than 300 films over 10 years. Frances Marion wrote screenplays for the Hollywood Star Mary Pickford and won two Oscars, Dorothy Arzner was the most powerful film director in Hollywood. And what do all of them have in common? They are all women and they have all been forgotten. Incredibly, it also took until 2010 for the first woman, Kathryn Bigelow, to win the Oscar for Best Director. Even if underrepresented women have always played a big part in Hollywood and it is this part of the film history left untold that this documentary sets out to uncover.

Cast

  •                 Sherry Lansing  
  •                 Lillian Gish          
  •                 Margaret Booth

Rest of cast listed alphabetically:

  •                 Ally Acker … Self
  •                 Dorothy Arzner … Self (archive Footage)
  •                 Cari Beauchamp … Self
  •                 Alice Guy … Self (archive Footage)
  •                 Edith Head … Self (archive Footage)
  •                 Anita Loos … Self (archive Footage)
  •                 Ida Lupino … Self (archive Footage)
  •                 Frances Marion … Self (archive Footage)
  •                 June Mathis … Self (archive Footage)
  •                 Mabel Normand … Self (archive Footage)
  •                 Lynda Obst … Self
  •                 Mary Pickford … Self (archive Footage)
  •                 Robin Swicord … Self
  •                 Virginia Van Upp … Self (archive Footage)
  •                 Paula Wagner … Self
  •                 Lois Weber … Self (archive Footage)
  •                 Mae West … Self (archive Footage)

Directed by Clara Kuperberg and Julia Kuperberg

  • Clara Kuperberg … (co-director)
  • Julia Kuperberg … (co-director)

Written by Clara Kuperberg … (writer)

  •  Clara Kuperberg … ()
  •  Julia Kuperberg … (writer)

Produced by

  • Clara Kuperberg … producer
  • Julia Kuperberg … producer
  • Susan Michals … line producer

Cinematography by Peter Krajewski and Mike Nolan

Et la femme créa Hollywood (2016) HDV 720p

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KQED – Lillian Gish – Mary Martin 1981 interview (TV Capture)

Lillian Gish – Mary Martin (Over Easy Camera, New York)

Critics, historians, and scholars are virtually unaminous in their agreement that Griffith’s greatest performer was Lillian Gish. John Barrymore compared her with Bernhardt and Duse. Critics rhapsodized over her “Dresden porcelain” beauty. She started with Griffith in 1912 at the age of sixteen and became his preeminent interpreter in such major works as The Birth of a Nation, Broken Blossoms, Way Down East, and Orphans of the Storm.

KQED – Lillian Gish – Mary Martin 1981 interview – HDV 720p TV Capture

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Lillian Gish, 1978 CBC Archives

Lillian Gish, 1978 CBC Archives – TV capture VHS quality

First lady of the screen, Miss Lillian Gish in an interview filmed in 1978, presented by CBC as an episode in their “Retro-Bites” series.

Lillian Gish, 1978 CBC Archives – TV capture VHS quality

*** Admin note: Featured photo of Lillian Gish was taken in 1978 indeed, but is a still frame from an interview at BBC Television London. The material above has a low VHS resolution (TV capture) thus any still frame will be affected by the poor footage quality. Thank you for your understanding.

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Mrs Winchester’s House – CBS 5 – HDV 720p 29.97 fps (Entire Documentary)

Mrs. Winchester’s House


• TV Movie
• 1963
• 29min


Documentary about the life and legend of Sarah L. Winchester, heiress to the Winchester Repeating Arms Company who, after the death of her husband and only child moved to San Jose, California and constructed non-stop what came to be known as the Winchester Mystery House during the last 38 years of her life. The film traces Mrs. Winchester’s life from her marriage into the wealthy Winchester family, whose family business supplied many of the repeating rifles sold to the United States Army during and after the Civil War and follows her eccentric life in California where, according to legend, she was advised by a mystic to provide shelter for spirits of the victims of her husband’s rifles or follow him to an early grave. It provides point-of-view shots of the interior and exterior of the rambling Victorian mansion.


• Director – Dick Williams


• Writers
o R.E. Pusey Jr.
o Ray Hubbard


• Star
o Lillian Gish (voice)

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Actress breaks ‘Kate Jackson Doll’ (Minneapolis Tribune – 1981)

  • Minneapolis Tribune – February 15, 1981 (Page 30)
  • Actress breaks ‘Kate Jackson Doll’

Charleston S.C. – Sitting in Charleston under a hair dryer, preparing to go out into 105 – degree heat and pretend that it was a cool spring day, Kate Jackson told us how her acting career was back on the track.

She stars as Linda Rivers, a 26-year old high school teacher who has a controversial love affair with a 18-year-old student, in “Thin Ice” at 8 p.m. on the “CBS Tuesday Night Movies.”

As she prepared for a scene with Lillian Gish, legendary star who portrays her grandmother, Jackson reflected on her career.

She was born in Birmingham, Ala., and attended college at Ole Miss, but she didn’t participate in theater ventures there. “The theater people were considered weird people,” Jackson said, “I hope that’s no longer true. But when I was in school, all the talented kids who played the flute or wanted to act where made fun of. I worry about the sensitive people who are so easily crushed, simply because the values of our society are so misplaced.

“My way around that was to just not tell anyone I wanted to be an actress. I figured I would just go and do it, and then the other people could talk about it.”

That’s what she did. At 19 she moved to New York, where she enrolled in a two-year course at the American Academy of Dramatic Arts. When she graduated, her class’s graduation speaker was Gish.

LILLIAN GISH (SIGNED photo) starring in ‘THIN ICE’ – WITH KATE JACKSON

“I remember she said she couldn’t stand behind the podium because she was too short,” Jackson recalled, “so she stepped around and stood in front of it. Then she proceeded to say wonderful, encouraging things to us, just the very things you would expect a sensitive woman to say to graduates who have a dream that is to extremely difficult to achieve.”

After a nine-month stint on “Dark Shadows” daytime series, Jackson became the female lead in the police action series “The Rookies,” which ran from 1972 to 1976. She went straight from that into the role of Sabrina Carver on “Charlie’s Angels,” starring for three seasons until 1979. During her stint on this series, she admitted, she began to lose perspective on her career.

“I don’t want to knock that series,” she began, “because that show did a lot of good things for me. But during those years I got distracted by the very things that I had always promised myself I would be never distracted by – namely, the hype and the huge amounts of money.

“It becomes funny money. It doesn’t mean anything. Yet, at the same time, it’s pretty hard to quit. It’s hard to look a million dollars in the face and tell it to get into somebody else’s pocket.

“But that third year, I was beginning the question why I disliked the thing that I knew I loved most in the world – acting. I’d reached a point where I not only didn’t love to act, I didn’t even know why I acted.

“You tend to lose perspective when there’s a Kate Jackson Doll. But I knew that I had become an actress in order to communicate with people. I didn’t want to be a Kate Jackson Doll. I didn’t want to be a Kate Jackson lunch box.

“Now,” she said, “once again I’m working for the right reasons – because of the artist that I hope is inside me. And on this particular project I find again all the reasons that I wanted to become an actress in the first place. Now I know why I act, and love it again.

In Tuesday’s movie Jackson portrays Linda Rivers, a South Carolina history teacher whose husband died three years earlier. Rather than renew an active social life, she lives with her grandmother (Gish) and focuses her energies on teaching. By chance during spring vacation, she spends time with 18-year-old Paul McCormick (Gerard Prendergast), one of her students. Almost against her will, they fall in love and enter into an involvement.

Fully aware of the danger in their relationship, Linda and Paul go to great lengths to keep their involvement discreet. But when news of their affair leaks, a community controversy erupts that dramatically alters their lives and compels the couple to confront the seriousness of their actions.

Gish recalled the script “beautiful and intelligent.” She said, “I feel so guilty. My agents are darling with me. They send me scripts by the dozen. If I were starving, maybe I would have to do them. But I’m not, so I don’t.

“Then I was sent ‘Thin Ice’. I said I’d be delighted to be in it because at last, here was a script for adults.”

KATE JACKSON LILLIAN GISH “THIN ICE” – 1981 CBS TV

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A Celebration of The Performing Arts – San Bernardino Sun, 1982

  • San Bernardino Sun, Volume 109, Number 353, 19 December 1982
  • TV Week, December 19, 1982
  • The Kennedy Center Honors: A Celebration of The Performing Arts

George Abbott, Lillian Gish, Gene Kelly (top, l-r), Eugene Ormandy and Benny Goodman (bottom, l.c), are five distinguished American artists who have been chosen by the Kennedy Center for the Performing Arts in Washington. D C , as recipients of the prestigious Kennedy Center Honors, the nation’s highest distinction for performing artists. Walter Cronkite (bottom, r), will host The Kennedy Center Honors: A Celebration of the Performing Arts, the fifth annual entertainment gala honoring the lifetime achievement of performing artists, airing on CBS, Saturday at 8PM An array of top stars from various realms of the performing arts, many of them colleagues of the recipients, will entertain at the invitational black-tie event, a benefit for the Kennedy Center. The honorees, whose artistic excellence is world renowned, have been chosen by the Kennedy Center trustees as “individuals who throughout their lifetimes have contributed greatly to American culture through the performing arts ” Roger L Stevens, chairman of the Kennedy Center, notes that the awards, now in their fifth year, were intended to demonstrate that “this nation does recognize the intrinsic value of the arts” and they “have now become a national tradition.”

The Kennedy Center Honors – San Bernardino Sun 1982

Kennedy Center Honors 1982 – Gallery

1982 DC Ronald Reagan – Lillian Gish (Kennedy Center)

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She Brought Her Own Shoes (Hobson’s Choice) – San Bernardino Sun, 1983

San Bernardino Sun, Volume 110, Number 352, 18 December 1983

She Brought Her Own Shoes

Lillian Gish has a problem. “A lot of people I know send me scripts,” she said “It’s difficult to say no to a friend. It’s hard to say I’m not suited for it, or it doesn’t appeal to me.” So it was with some trepidation that the legendary film star opened the script to Hobson’s Choice, which had been sent to her by her good friend, Gilbert Cates. He had produced Never Sang for My Father, in which Miss Gish starred on Broadway in 1968. Now he was directing Hobson’s Choice. But as she read the script, her fears vanished. “It’s the best script I’ve seen in two years,” she enthused. “That includes plays, feature films, anything. I get scripts by dozens. I wouldn’t be caught dead in any of them. They’re awful. But this was a story with a beginning, a middle and end, I like it.” In fact, she liked it enough to say yes to her friend Gil Cates.

Richard Thomas Sharon Gless Jack Warden Lillian Gish – Hobson’s Choice 1983

Now Lillian Gish can be seen in one of her rare television roles, in Hobson’s Choice, new motion picture-for-television, airing on The CBS Wednesday Night Movies at 9PM. When she traveled to New Orleans for her special guest star role as a wealthy; satisfied patron of a local shoe store, Miss Gish brought along part of her costume: a pair of black suede shoes. “The shoes are very important to my character,” she explained. “They need to be right. I took along a pair of shoes I’d bought in Florence, Italy, in the early 1920s. I’ve never seen a shoe like it in this country. Here we are, sixty years later, and I still wear these shoes regularly.” According to director Gilbert Cates, it’s typical that this venerable actress would pay special attention to the one part of her wardrobe that is central to her character. “The really remarkable thing about Lillian Gish,” the director said, “is her ability to go straight to the intent of any scene. Some actors can deliver a scene letter perfect and not know what it’s about. With Lillian Gish, it’s not even important whether the words are perfect or not. Everything she says has the right color, the right flavor, the right intent.” “But you see,” the actress explained, “that’s because of my years in silent films with D. W. Griffith. He would only give us the plot. Then it was up to us to find the character. As we would rehearse the story, we’d improvise our dialogue. The cutter would take down what we said, and our words often became the subtitles, since they were borne out in the action.”

1983 Richard Thomas Lillian Gish Hobsons Choice

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