The Screen’s Foremost Artist
To question the dramatic talent of Lillian Gish would be akin to questioning the beauty of Caruso’s voice. Among performers on the screen she is truly set apart — always the artist — a star that reaches greatness with a gesture, tragedy with an enigmatic smile.
Metro-Goldwyn-Mayer features her because she is great. One would be hard put to it to name a player who has glorified more outstanding successes or one who more rightly deserves the title ot “first lady of the screen.”
From “The Birth of a Nation” to “Annie Laurie,” Miss Gish has ever graced the boards as an attraction ot high quality and an entertainment name worthy of double or treble the customary admission charge.
The first M-G-M production starring Miss Gish in 1927-1928 is “Annie Laurie,” a gay, colorful photoplay that ranges all moods and emotions. It is—confidentialy -a rather different type ot Lillian Gish vehicle. For one thing it is pitched in a key of merriment, and while it ranges to a strong, rugged climax, it might well be classified as a story that touches the sunny, rather than the seamy, side ot life.
Motion Picture News (Apr – Jul 1927)