The Wind (1928) - Nov 27 USA


The Wind (1928) - Nov 27 USA - ballroom scene (with Montagu Love)

Director: Victor Sjöström
Writers: Frances Marion (scenario) Dorothy Scarborough (from the novel by)

 It was one of the last silent films released by Metro-Goldwyn-Mayer, and is considered one of the greatest silent films. Lillian Gish came up with the idea of making a film adaption of the novel of the same name. Irving Thalberg immediately gave her permission to do so. Gish recalled wanting Lars Hanson as her leading man, she also assigned Victor Sjöström as the director herself. Sjöström directed Gish before in the 1926 movie The Scarlet Letter. The Wind is considered to be a classic, and one of Gish's most brilliant performances. It is the last silent film starring Gish, the last directed by Sjostrom, and the last major silent released by MGM. At its time it was simultaneously panned and hailed by American critics, and its late release at the dawn of the sound era contributed to a net loss for the production. However, the film had significant critical and considerable commercial success in Europe. The British newspaper, The Guardian, in 1999 reviewed the work of director Victor Sjöström and they wrote, "And in America his three most famous works - He Who Gets Slapped (1924), The Scarlet Letter (1926) and The Wind (1928) - each dealt with human suffering. The Wind is almost certainly the best - a silent classic, revived in recent years by producer/director Kevin Brownlow with a Carl Davis score, which gave the great Lillian Gish one of the finest parts of her career...Sjostrom treats the inevitable clash between Letty and her new surroundings with considerable realism and detail, allowing Gish as much leeway as possible to develop her performance. The entire film was shot in the Mojave Desert under conditions of great hardship and difficulty and this was probably the first 'Western' that tried for truth as well as dramatic poetry. One of its masterstrokes, which looks far less self-conscious than any description of it may seem, is the moment when Letty hallucinates in terror at the sight of the partially buried body of her attacker." The wind in the film was created by the propellers of eight aircraft stationed on location in the Mojave Desert. The airplane propellers blowing hot air, sand and smoke were so dangerous that crew members were forced to wear long-sleeved clothing, eye goggles, bandannas around their necks and greasepaint on their faces whenever the machines were being run. The average temperature for the location and season where the movie was filmed is between 90-105 and the record highs are around 115 degrees Fahrenheit. During filming, high temperatures made life miserable for both cast and crew. The intense heat caused the film stock to warp, and it had to be packed in ice to remain intact. Lillian Gish claimed that she touched an outside door handle, and was so severely burned that a small part of her palm's flesh was scalded off. Lillian Gish ... Letty Lars Hanson ... Lige Montagu Love ... Roddy Dorothy Cumming ... Cora Edward Earle ... Beverly William Orlamond ... Sourdough Carmencita Johnson ... Cora's Child Leon Janney ... Cora's Child (as Laon Ramon) Billy Kent Schaefer ... Cora's Child











































































































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. ...
Read more

LEADING LADIES – 1976 (Electa Clark) PDF Download

Image
  LEADING LADIES – 1976 (Electa Clark) PDF Download “Humanity marches on into the new and glorious 20th century!” exults a daily paper in its first issue of 1901. “Come, oh century, child of hope!” begins a long poem on page one. Another column trills, “We are 20th century women … with the dower of privilege and responsibility which enriches women in this wonderful era!” Lillian Gish had a similar effect on millions who saw her in the movies. She was not only talented, she had a unique quality: pure, ethereal, elusive. As if she acted in whispers. As if in her hands, the definite blurred into the indefinite. It was drama critic George Jean Nathan who described her as being “behind a veil of silver chiffon.” He courted Lillian for years, but she eluded marriage. Horse drawn float declares National American Woman Suffrage Association’s support for Bristow-Mondell amendment 1920s Lillian Gish Actress ‘La Boheme’ Oversized DBW Photo by Kenneth Alexander Leading ladies an affectionate l...
Read more