“Orphans of the Storm” – Chicago Tribune (1922)

 

“Orphans of the Storm” – Chicago Tribune (1922)

Chicago Tribune – Monday February 6, 1922 – Page 4

Have You Ever Read Anything Like This?

“Orphans of the Storm” is the greatest dramatic enactment the world has ever known since the living contests in the Roman amphitheater.” – Says Amy Leslie.

“It is Griffith’s largest achievement – a play of plaintive beauty set like a pearl with the volcanoes of the earth’s heart torn open. The refreshing youth of the Gish girls and Shildkraut come nearer the great truth of drama than celebrities of another era. Its beauty is a continual feast, and its amassment of armies, mobs and gigantic maneuvers plunge into imagination with drawn swords of conviction and verity.” Amy Leslie, News.

“It equals ‘The Birth of a Nation.’ Work of this sort causes some of us who we are, perhaps, too prone to turn up our noses at this eight art to pause and reflect. The mad gallop equals in every particular the ride of the Klansmen in the ‘Birth of a Nation,’ and, for excitement is superior to the famous ice scene of ‘Way Down East.’ The appeal the Gish girls make to the human heart is so strong that one need not blush for the tears that come to the eyes.” Paul R. Martin, Journal of Commerce.

The Cast – Orphans of The Storm Picture Show Art 1922

“The Gish girls catch at heart and imagination. They are frailly lovely to see, and their emotions awake instant response in you. Joseph Shildkraut, as the young aristocrat who sees and loves Henriette (Lillian Gish), is a fine  actor and is almost too beautiful to be true.” Mae Tinee, Tribune

“The old master of the screen does it again. There were long stretches in ‘Way Down East,’ during which I thought of everything but ‘Way Down East,’ whereas ‘Orphans of the Storm’ is thick all over with the finest fat in the theater. It is a great story, containing audacity and imagination. It never strays; is one big unbroken melodramatic curve in which the streams of D’Ennery, Caryle and Griffith are interfluent.” Ashton Stevens, Herald Examiner

“Griffith has done it again. There are scenes Watteau would have loved to paint. As long as Griffith lives to provide us with photodramas no one need fear a foreign invasion.” Virginia Dale, Journal.

“It is supremely beautiful; delicately woven as to theme; and admirably handled throughout. Griffith has been great before, but he is greater now.”

And the Herald Examiner says:

“Love-making as soft and intriguing as a night breeze across May roses.”

  • “ORPHANS OF THE STORM”
  • Shubert Great Northern Theatre
Chicago Tribune (Chicago, Illinois) 06 Feb 1922, Mon Page 4

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