The White Sister

Lillian Gish as Angela Chiaromonte (The White Sister) - charcoal render

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Silent Cinema – By Joel W. Finler (1997)

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  Silent Cinema – By Joel W. Finler (1997) Silent Cinema – World cinema before the coming of sound By Joel W. Finler First published in Great Britain 1997 © Joel W. Finler 1997 You will see that this little clicking contraption with the revolving handle will make a revolution in our life – in the life of writers… (But) the films! They are wonderful! Drr! and a scene is ready! Drr! and we have another! We have the sea, the coast, the city, the palace… (Leo Tolstoy, interviewed in 1908) By close-ups of the things around us, by focusing on the hidden details of familiar objects, by exploring commonplace milieus under the ingenious guidance of the camera, the film, on the one hand, extends our comprehension of the necessities that rule our lives; on the other hand, it manages to assure us of an immense and unexpected field of action. Our taverns and metropolitan streets, our offices and furnished rooms, our railroad stations and our factories appeared to have us locked up hopelessly. T...
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George Jean Nathan and Lillian Gish – by Thomas Quinn Curtiss (1988)

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  George Jean Nathan and Lillian Gish – by Thomas Quinn Curtiss (1988) An Applause Original THE SMART SET: George Jean Nathan & H.L.Mencken by Thomas Quinn Curtiss Copyright © 1998 by Thomas Quinn Curtiss Nathan had been denouncing the movies as a menace to the arts for many years, but the screen appearance of Miss Gish bewitched him. A year earlier he had published a rapturous essay about her in Vanity Fair, attempting to explain the spell her celluloid image cast. That she is one of the few real actresses that the films have brought forth, either here or abroad, is pretty well agreed upon by the majority of critics. But it seems to me that, though the fact is taken for granted, the reasons for her eminence have in but small and misty part been set down in print. Lillian Gish and George Jean Nathan — Chateau Du Plessis France “The girl is superior to her medium, pathetically so. Her genius lies in making the definite charmingly indefinite. Her technique consists in thinking ou...
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Documentary Film Classics – By William Rothman (1997)

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  Documentary Film Classics – By William Rothman (1997) Documentary Film Classics By William Rothman University of Miami © Cambridge University Press 1997 Movies, too, may be said to bring “real life” to the screen. For example, in Griffith’s True Heart Susie, a film contemporaneous with Nanook of the North, the character Susie and the world she inhabits may be imaginary, but it is the real-life Lillian Gish who is the subject of the camera. And so-called “documentaries,” too, may be said to bring the life of the imagination to the screen, as we shall be reminded throughout this book. Lillian Gish and Robert Harron – True Heart Susie Griffith’s camera is capable of making no revelations about the fictional Susie that are not also revelations about the real woman who incarnates her, revelations that emerge through, that express and thus reveal, the relationship between the camera and Lillian Gish. True Heart Susie’s prevailing fiction is that it is Susie, not Lillian Gish, who is re...
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