Wages Court Fight with Rich Man (Chicago Tribune – 1925)

 

Wages Court Fight with Rich Man (Chicago Tribune – 1925)

Chicago Tribune – Monday, February 16, 1925 Page 3

Wages Court Fight with Rich Man

Lillian Gish, movie actress, with her mother attends hearing in New York on injunction suit brought by Charles H. Duell, her former employer, to prevent her from avoiding her contract with his film corporation. Miss Gish says she will quit the screen before working again for Duell’s concern. Decision on the case was reserved by the court.

Chicago Tribune (Chicago, Illinois) 16 Feb 1925, Mon Page 3 - Ne

… Max D. Steuer characterized Duell as a “deep-eyed scoundrel” for whom the actress would never work again even if it meant giving up her screen career …

… Steuer declared that Miss Gish’s contract was “grossly one-sided.”

Miss Gish appeared in court with her mother and listened intently to her lawyer’s argument. Holland S. Duell, brother of the plaintiff, testified in support of the producer’s complaint, declaring Miss Gish had already been stated in two successful pictures under the terms of the agreement which she wished to cancel. Steuer asserted that by five modifications of the contract, Miss Gish was defrauded of $120,000 by Duell …

Lillian Gish and her lawyer Max Steuer - the Duell trial in 1925
Lillian Gish and her lawyer Max Steuer – the Duell trial in 1925

Finally, on April 2, 1925, extras were on the streets at noon carrying this headline:

“Duell Held as Perjurer; Lillian Gish Wins Suit”

 

LILLIAN GISH SUED by Charles H. Duell

 

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