The Celluloid Critic
Laurence Reid Reviews the Latest Picture Plays
Motion Picture Classic – 1923
The parade of big pictures across New York screen goes on apace. It begins to look like a celluloid landslide and the season has hardly begun. Marion Davies and George Arliss have had their innings with “Little Old New York” and “The Green Goddess,” respectively, and now comes Mary Pickford in “Rosita,” Lillian Gish in “The White Sister” and Lon Chaney in “The Hunchback of Notre Dame.”
The White Sister
There is a lyric quality to Lillian Gish’s acting in “The White Sister” (Inspiration) which has never been recognized before. In that respect Henry King who directed this tragic story of broken romance has brought forward a talent which Griffith neglected in order to create an emotional outburst, of pent-up floods of passions and fear. As the frail, tender misguided child of fate, Miss Gish makes poignant appeal. It is heart-rending to see this tormented soul taking her separation from her lover with such courage and when learning of his death, turning her back on the world and finding peace and sanctuary in the Church.
There is a splendid clash of emotions when the girl takes the veil – an unforgettable scene – and daring in its execution. Then when the lover returns to find his sweetheart a nun the story releases a deeper poignant note. Here is Lillian Gish of wistful charm and poise, suffering the anguish which comes from conflict in her heart.
There are some irrelevant touches and the climax is too orthodox to ring genuine. We have the play of elements from all sides – nature releasing its unbounded fury, and the human puppets are swept aside like so many toy figures. The finish is regulation movie stuff. But the picture earns respect because of its spiritual quality – its poignant touches – its sweep of passion.
It strikes deep with its conflict of distressed souls and one emerges from the theater with a feeling of exhaustion – the tensity of scene when the girl takes the veil and when her soldier-lover returns to claim her, holding one in a tight embrace.
A newcomer is Ronald Colman who plays the broken-hearted lover and he gives a performance of quiet force and dignity. He never seems to be acting, which makes his expression all the more natural and genuine.