Chicago Tribune – Sunday November 13, 1932 – Page 51
Baby Camille of Lillian Gish Arouses Critic

Too Ethereal for New York

By Burns Mantle

New York – Special – The Lillian Gish “Camille” which has been brought down from the Colorado mountains by the Delos Chappels to show these dull easterners what Dumas really had in mind when, eighty years ago, he wrote the story of Marguerite Gautier and titled it “The Lady of the Camellias” – the Lillian Gish “Camille” is at least 99 per cent pure and floats more successfully than any of them. Of course, if Lillian is right and Robert Edmond Jones is right in his direction of her, then it must follow that fifty million Frenchmen have been wrong for eighty years at least. For nothing so etherealized in the way of Camilles has ever been exhibited on any stage in any country since the play became an emotional actress favorite bronchial and abdominal exercise.

Laura Gilpin (1891-1979); Camille–Gish, Lillian, [And] Raymond Hackett [Made at Chappell Home, Denver]; 1932; Platinum print; Amon Carter Museum of American Art, Ft Worth, Texas, Bequest of the Artist; P1979.140.193

It is Mr. Jones’ contention that Dumas, in fact has literally been this wrong. His heroine, says Robert, though “one of the most famous of all Parisian courtesans, who died and was deeply mourned at the age of 24, was no middle-aged sophisticate, taking quick profit of her life. Instead, she was a young girl who, governed solely by her great heart, rose at last to spiritual heights which have immortalized her.”

Well, there is agreement on a few points. Marguerite was a courtesan, and she was 24. She had had numerous lovers. She had lived hectically. Her pleasant dissipations had undermined her health and she was, it is fair to assume, at least a 24 year old sophisticate.

Camille Cast with R.E. Jones and Lillian Gish in Chappel Garden by Laura Gilpin Amon Carter Museum of American Art, Fort Worth, Texas 1932

A Book and a Play are keeping Lillian Gish for the Public Eye – By Karen Hollis (Picture Play 1933)

“It isn’t the Paris courtesan that she is playing. What she really is playing is Marguerite’s pathos itself, the sadness of the irrevocable of all those memories evoked by the yellowed lace of old hall dresses, by pressed roses found in a book, by the tinkle of dance music played on a harpsichord; the tragedy of fleeting beauty, of love lost, of fragile youth so soon to yield to death.” (Arthur Ruhl)

Laura Gilpin (1891-1979); Lillian Gish as Camille. Central City, Colorado; 1932; Gelatin silver print; Amon Carter Museum of American Art, Ft Worth, Texas; Bequest of the Artist; P1979.140.309

BROADWAYITES have finally had an opportunity to see Lillian Gish as Camille, and she is assured a place in arguments about illusion in the theater for years to come. Not every one approved her delineation of the role, but every one found some evanescent magic in it. There were harsh words said about her playing the fabulous courtesan as a chaste spinster. There was some confusion over the play being presented in the manner of fifty years ago with quaint lighting, soliloquies, and exrated posturings.