An Indian’s Loyalty 1913 – MOTOGRAPHY – October 7, 1916


An Indian’s Loyalty – MOTOGRAPHY – October 7, 1916



Lillian_Gish_Motion_Picture_Magazine_may_1914
Lillian_Gish_Motion_Picture_Magazine_may_1914

MOTOGRAPHY – October 7. 1916.

Brief Stories of the Weeks Film Releases

An Indian’s Loyalty — Biograph Re-Issue

October 2. — Featuring Lillian Gish, Edward Dillon and Eagle Eye.
The Young foreman and the ranchero’s daughter are in love and when an Indian, who is employed on the ranch, is discharged by the ranchero who accused him of stealing money, which was stolen by a farm hand, the foreman who has taken a liking for the Indian, has him reinstated. The foreman, who is suspicious of the farm hand, discovers him looking in the window of the ranchero’s house. He is discharged and, bent on revenge, he goes after one of his pals. They capture the ranchero’s daughter and insist that she tell them where her father’s money is. The Indian returning from the field for a farm implement and hearing the noise inside, looks in and sees the girl struggling with the men. He goes for help and when the men arrive a terrific struggle ensues, ending with the capture of the outlaws.

Motography 1916 - An Indian's Loyalty
Motography 1916 – An Indian’s Loyalty

Director: Christy Cabanne
Writer: Fred Burns
  • Frank Opperman as The Ranchero
  • Lillian Gish as The Ranchero’s Daughter
  • Edward Dillon as The Young Foreman
  • Eagle Eye as The Indian
  • Fred Burns as The Ranch Hand
  • Lionel Barrymore as The Cattle Buyer
  • William A. Carroll as The Accomplice
  • Dark Cloud (actor) as An Indian
1913 American short Western film directed by Christy Cabanne and featuring Lillian Gish.
A melodramatic picture with a situation that the Biograph Company has made use of a great many times, but nearly always with freshness and nearly always effectively, as in the present case. It is a situation where there is money in the house and only a girl to protect it, and the bad man attempts to force her to disclose its hiding place. As usual there are rescuers on the way, and it also includes a speedy Biograph chase. The photography is clear. (The Moving Picture World, September 6, 1913)

An_Indian’s_Loyalty
An Indian’s Loyalty 1913 – Poster

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