“A Romance Of Happy Valley” 1919 – Entire film

 

“A Romance Of Happy Valley” 1919 – Entire film

The war is over. Griffith has demobilized his soldiers, converted his trenches into corn fields and stacked his guns in an armory. He is back again among simple, peaceful folk whose problems and struggles are in their own hearts. He is doing more superbly than ever, what he has done so surpassingly well in the past. Recall Griffith’s early Biographs: then consider the great advance made in photoplay technique since those days, also the development in the screen impressiveness of such players as Lillian Gish and Bobby Harron; take into account the improvement in the art of the master director, imagine a de-luxe version of one of his little masterpieces, and you will have an idea of the type of picture issued under the title of “A Romance of Happy Valley”.

D. W. Griffith presents “A Romance Of Happy Valley” – Artcraft

  • DIRECTOR D. W. Griffith.
  • AUTHOR Mary Castleman.
  • CAMERAMAN G. W. Bitzer.
  • AS A WHOLE Beautiful production filled with human touches, genuine comedy and irresistible heart appeal.
  • STORY Simple narrative of country folk; natural up to final sequences which run into some unexpected drama.
  • DIRECTION Characteristic of Griffith in perfection of treatment of situations and handling of players.
  • PHOTOGRAPHY Flawless
  • LIGHTINGS Superb; artistic effects that suggest the paintings of a landscape artist.
  • CAMERA WORK On a par with the lightings and photography.
  • PLAYERS Lillian Gish, Robert Harron and George Fawcett give notable performances; remainder of cast up to Griffith standard.
  • EXTERIORS Couldn’t be better in carrying the atmosphere of a country town.
  • INTERIORS Always in the tone of the action.
  • DETAIL Shows genius in picking out the trifles that give significance to life.
  • CHARACTER OF STORY Refreshing, sympathetic and wholesome.

LENGTH OF PRODUCTION 590S feet

“A Romance Of Happy Valley” 1919 – HDV 720P 29,97 fps

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