THE MUSKETEERS OF PIG ALLEY (American Biograph, 1912)


THE MUSKETEERS OF PIG ALLEY (American Biograph, 1912)



The Musketeers of Pig Alley 1912
The Musketeers of Pig Alley 1912

THE MUSKETEERS OF PIG ALLEY

(American Biograph, 1912)

The New York Dramatic Mirror, Vol. 68, No. 1769 (November 13, 1912)
As a drama of slum life on the lower East Side of New York this picture is remarkably impressive. The street scenes and those laid in the ominous looking Pig Alley carry the touch of reality, and the characters of the Little Lady, the musicians and the gangsters are well played. The Little Lady and the musician are lovers, but he is poor and goes away to earn more money. While he is absent the girl is insulted by Snapper Kid, the leader of the gang, and being a high-spirited young woman she resents the insult.

Musketeers from Pig Alley 1912
Lillian Gish (left) – The Musketeers of Pig Alley 1912

Later she goes to a gangsters’ ball, and it is Snapper Kid who saves the girl from the clutches of a designing young man. This starts a gang war. Meanwhile the musician has returned and been robbed of a pocketful of money by the same Snapper Kid. How the musician and the girl finally befriend the young gangster and save him from the police after Pig Alley has been ’’shot up” provides a fitting climax for an interesting tale.
–D. in The New York Dramatic Mirror, Vol. 68, No. 1769 (No- vember 13, 1912), page 30.

The Movies Mr. Griffith and Me (03 1969) The Musketeers of Pig Alley 1912 — with Lillian Gish.
The Movies Mr. Griffith and Me (03 1969) The Musketeers of Pig Alley 1912 — with Lillian Gish.

Back to Lillian Gish Home page

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. ...
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