A Limehouse Rose – Current Opinion, July 1919

A Limehouse Rose – Current Opinion, July 1919

Broken Blossoms; Current Opinion – July 1919

Mr.Griffith Newest Movie Masterpiece

“Broken Blossoms”, the result of intensive Cultivation in the Field of the Films
Broken Blossoms - Swedish Magazine promo - Lucy Burrows on the pier - Limehouse

A Limehouse Rose

In “Broken Blossoms” Lillian Gish is seen as little Lucy, the Dickensian daughter of a new Bill Sykes. The film is based upon Thomas Burke’s class of “Limehouse Nights” entitled “The Chink and the Child.”
Not quite enough tin foil ... (Broken Blossoms)
Not quite enough tin foil … (Broken Blossoms)

Limehouse Rose 1919 1
Limehouse, the home of Lucy and Battling Burrows
Limehouse, the home of Lucy and Battling Burrows
Limehouse Rose 1919 2
Lillian Gish and Richard Barthelmess - Broken Blossoms
Lillian Gish and Richard Barthelmess – Broken Blossoms
Limehouse Rose 1919 3
Lillian Gish and Donald Crisp in Broken Blossoms
Lillian Gish and Donald Crisp in Broken Blossoms
Limehouse Rose 1919 4
Limehouse Rose 1919 5
Lucy Burrows (Lillian Gish)
Lucy Burrows (Lillian Gish)
Limehouse Rose 1919 6
The Room, as for a Princess (Richard Barthelmess and Lillian Gish)
The Room, as for a Princess (Richard Barthelmess and Lillian Gish) – Broken Blossoms
Limehouse Rose 1919 7
Lucy's smile ... (Broken Blossoms)
Lucy’s smile … (Broken Blossoms)
Dying, she gives her
last little smile to
the world that has
been so unkind …
Lillian Gish and Donald Crisp in "Broken Blossoms"
Lillian Gish and Donald Crisp in “Broken Blossoms”

Back to Lillian Gish Home page

Comments

Post a Comment

Popular posts from this blog

D.W. Griffith – An American Life (By Richard Schickel – 1984)

Image
D.W. Griffith – An American Life (By Richard Schickel – 1984) D.W. Griffith – An American Life By Richard Schickel – 1984 Griffith! Before him, the movies were a nickelodeon novelty, after him, they were an international art form and a powerful, glamorous American industry He was the first to codify the rules and techniques of screen storytelling, the first to establish the conventions by which the unique capacities of the movies for both sweeping spectacle and profound intimacy could be employed in long, complex narratives, the first to assert the director’s claim to primary authorship of a film Above all, it was Griffith who imagined the future of his medium, and with his driving energy, his taste for the grandiose and his flair for publicity, propelled that medium toward that future—only to be crushed by the very forces he had unleashed. D.w. Griffith (1875-1948) Painting; D.w. Griffith (1875-1948) Art Print for sale His story is, in huge measure, the story of how the
Read more

Lillian Gish and Jeanne Moreau – Vanity Fair 1983

Image
Lillian Gish and Jeanne Moreau – Vanity Fair 1983 Vanity Fair – October 1983 Lillian Gish Jeanne Moreau This is a summit meeting: a queen paying homage to an empress. Of course, Lillian Gish, far right, is no truer a blueblood than any other homespun midwesterner. But wherever she goes now, she is treated like a monarch, acknowledging standing ovations in allAmerican palaces like Radio City Music Hall. Her admirers aren’t really applauding her 101 films (she has just completed the 102nd, about a sweet old lady and her sweet old dog). They may never have seen her slim but supernally intense performances in the D. W. Griffith masterpieces or in the Victor Sjostrom classics she made in the late ’20s at MGM. Lillian-Gish-Jeanne-Moreau 60s But they sense in her the grace, the purity, the wealth of symbolism that royalty sustains. Gish’s companion here, Jeanne Moreau, radiates a similar authority; what Gish was to the cinema of the ’20s, Moreau was to the cinema of the ’60s. “The
Read more