The White Sister (Motion Picture Classic – 1923) – Laurence Reid Review

The White Sister (Motion Picture Classic – 1923) – Laurence Reid Review

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.”
Silver Nitrate White Sister Lobby Card Negative
White Sister Lobby Card (Inspiration Pictures)

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.
The White Sister
The White Sister
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.
The White Sister
The White Sister
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.
The White Sister
The White Sister
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.
The White Sister
The White Sister
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.

Back to Lillian Gish Home page

Motion Picture Classic (1923-1926)
Motion Picture Classic (1923) The Celluloid Critic – White Sister

Back to Lillian Gish Home page

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