Lillian Gish in Annie Laurie – Lola Todd (1927)

Lillian Gish in Annie Laurie – Lola Todd (1927)

Madera Tribune, Volume XLI, Number 38, 16 December 1927

LILLIAN GISH IN ANNIE LAURIE

Lola Todd

Annie Laurie beloved in song and romance through the centuries whose name is one to call up visions of the romantic highlands and the delicate sentiment of Robert Burns and the ancient bards Annie Laurie has come to life again. She held big audiences enthralled with her charm, and the charm of the romantic land of her birth; the mighty romance of Scotland, last night at the National theatre, when “Annie Laurie,” Lillian Gish’s new’ vehicle, was shown and will again he shown tonight.
ANNIE LAURIE, Norman Kerry, Lillian Gish, 1927
Lillian Gish literally is Annie Laurie. Those who imagined her as a myth or legend will be amazed at the actual woman;  Miss Gish is a faithful portrayer of the real Annie Laurie, who lived centuries ago whose love and whose heroism turned the tide of Scottish history in a real life drama more powerful than any imagined by a scenarist; and whose romance has come down to the world in song of the ancient bard. “Annie Laurie” is a tremendous drama of history. It deals with the gigantic ferment and struggle in Scotland that culminated in the Glencoe Massacre.
ANNIE LAURIE, Norman Kerry (links), Lillian Gish (Mitte), Direktor John S. Robertson, am Set, 1927
It is all laid on actual fact. Miss Gish, as the historic daughter of Sir Robert Laurie, chief of Clan Campbell, approaches the genius of Bernhardt, but always coupled with her own ethereal charm, in the mighty drama, in which she enacts the Scottish Joan of Arc. Norman Kerry plays the hero as a chieftain of the enemy clan of MacDonald. The great battle scenes, with hordes of six foot wanders in tartans and plaids, battling with shield and claymore—the majesty of the ancient Scotch castles these all add glamor. But the charm of Lillian Gish pervades it all.
Special Poster 2 sheets Annie Laurie

Back to Lillian Gish Home page

Back to Lillian Gish Home page

Comments

Post a Comment

Popular posts from this blog

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

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

ART DECO FASHION – by Suzanne Lussier (2003)

Image
  ART DECO FASHION – by Suzanne Lussier (2003) ART DECO FASHION Suzanne Lussier BULFINCH PRESS AOL Time Warner Book Group Copyright © 2003 by The Board of Trustees of the Victoria and Albert Museum The term Art Deco was employed for the first time in 1968 by the author Bevis Hillier. It identifies an aesthetic in vogue between 1909 and 1939 which was adopted in architecture, the decorative arts, textiles and fashion; it also influenced the fine arts, film and photography. Art Deco displayed stylized motifs and shapes borrowed from national traditions, folk art and ancient cultures, and was strongly influenced by the art of the avant-garde. Art deco fashion_Tamara de Lempicka 1929 Art Deco emerged from a unique artistic conjunction. From 1905, avant-garde movements sprung up one after another throughout Europe: the Fauves and Cubists in Paris, the Futurists in Italy, the Constructivists in Russia. Meanwhile the Ballets Russes were founded in Russia by Sergei Diaghilev who, wanting to re
Read more