The Real Lillian Gish – By Eleanor Nangle (Chicago Tribune – 1940)
The Real Lillian Gish – By Eleanor Nangle (Chicago Tribune – 1940)
Chicago Tribune – Sunday, April 7, 1940 – Page 124
The Real Lillian Gish
Cloak of Frail Femininity Covers Strong Character
By Eleanor Nangle
We had thought until we met Lillian Gish, that Mrs. Clarence Day, as portrayed in “Life With Father,” represented the ultimate in feminine wisdom and winsomeness. But there is curious, happy similarity between the woman and the character she plays. Which is probably one of the reasons Miss Gish is such a superlative success in her role of Vinnie Day.
Miss Gish, like Vinnie Day, has o totally deceptive cloak of helpless femininity. She looks physically frail, and one always thinks of her as tiny. As a matter of fact she enjoys superb health, weighs a solid 112 pounds, and is 5 feet 6 inches tall. The day we talked to her she was wearing, in the restful privacy of her hours of leisure at home, tailored slacks piped in white – the kind of costume that would make the average woman look taller. But she still seemed tiny to us, which shows you what illusion can be created by manner, fine bones, and a sweet, small face.
She looks one of the least athletic persons in the world. But she’s an unusually good fencer. If she had the time to devote to this, her favorite exercise, she has her instructor’s word that she’d be good enough to go into the Olympics. She thinks fencing the ideal sport, with a favorable effect on the mind as well as the body. It seems a little incongruous, this, coming from a gentle, quiet little person seated demurely behind a low bowl filled with at least a dozen bunches of wood violets!
And, like Vinnie again, Miss Gish is a marvelous listener. Her interested eyes pay flattering tribute to the speaker. For one who has a unique intelligence and a vast breadth of interests she suffers fools graciously. Fundamentally she’s a surprisingly serious person who thinks things thru and has a perfect sense of values.
She finds it rather wonderful to hear the laughter that rocks the “Life With Father” audiences, because she is more sensitive than most to the fact that these are tragic times. Tho she seems the sort of person who should think of nothing heavier than the flavor of the next piece of candy her small fingers will draw from the box on her lap, she is actually intelligently absorbed in European affairs. There is no fiction in sight; all clippings stacked around her room are concerned with things international. She’ll tell you very gently that this is due to the fact that since she walked out on the movies she’s lived a lot in Europe and gotten rather fond of it. That isn’t the real reason at all; she’s just a serious student.
She dresses well but unostentatiously. She’s dressed by a woman in New York who has her measurements and sends things as they are needed. No clothes splurges. But she’s completely feminine about perfumes and bath trimmings. She adores them.
And she loves to wear costumes, taking almost as much delight as the audience in the be-bustled gowns Vinnie wears. She assumes a posture for them, you might be interested to know, slanting her body forward, keeping her elbows at her sides, and assuming a walk entirely unlike her own natural, easy gait. She makes it look easy, but it isn’t. Almost her favorite episode in “Life With Father” is the scene she isn’t in. Those five minutes when she is ill upstairs are the only rest period she gets in the whole show. But she’s such a marvelous actress that only she is conscious of the physical strain of running up and down stairs 21 times in an evening’s performance!
There’s much more than meets the eye to Lillian Gish. Like the adorable Vinnie, she’s full of surprises.
Gish and Davis: Could the Two Work Together? – By Mike Kaplan (The New York Times – 1993) FILM; Gish and Davis: Could the Two Work Together? By Mike Kaplan The New York Times – April 18, 1993 When “The Whales of August” was filmed in 1986, the story of the relationship between two elderly sisters brought together two of the screen’s most enduring stars, Lillian Gish and Bette Davis. Miss Gish, who died Feb. 27 at the age of 99, will be remembered on Thursday at the Museum of Modern Art with a program called “In Memoriam.” It will include “The Whales of August,” her final film, directed by Lindsay Anderson, as well as her first, D. W. Griffith’s “Unseen Enemy” (1912). Here, Mike Kaplan, who co-produced “The Whales of August,” reflects on the interaction of its two stars. Bette Davis and Lillian Gish – The Whales of August, 1987 In the tributes to Lillian Gish that followed her death, references to her final starring role in “The Whales of August” were always glowing. B
The Movie Magazines and Lillian Gish … The moving Picture World 1914 detail The moving Picture World 1914 The moving Picture World 1914 detail Moving Picture World, November 21, 1914 Her Awakening – Lillian Gish The Angel of Contention Poster The moving Picture World – Mutual Program – A Question of Courage names wrong Lillian Gish And Dorothy The moving Picture World – Mutual Program – The Sisters The Birth of a Nation (David W. Griffith Corp., 1915). Herald2 Sold for Marriage Triangle Plays Program 1916 lillian_gish_photoplay_1917 08 ID Photo Back to Lillian Gish Home page Photoplay, August, 1918 – Dorothy and Lillian Gish in their dressing room Lillian Gish Photoplay August 1918 Lillian Gish Photoplay February 1919 Lillian Gish Photoplay, July, 1919 Back to Lillian Gish Home page Lillian Gish Photoplay October 1920 Orphans of The Storm Prog Herald 1921 Lillian Gish 1921 – The Girl Back Home Motion Picture Classic Magazine (Brewster, 1921) The Lily Maid from Ohio Ph
When Mamaroneck Upstaged Hollywood – By Bruce Berman (The New York Times – June 19, 1977) When Mamaroneck Upstaged Hollywood By Bruce Berman The New York Times – June 19, 1977 BACK in the early 1920’s when Mamaroneck was a center of movie‐making, Joseph Rigano was an employee of D.W. Grif fith’s studio at Orienta. “I was atone mason and mechanic,” the energetic 80year‐old said as we toured on foot Edgewater Point, at the top of the Orienta Peninsula. Griffith Studios, Orienta Point, Mamaroneck NY 1921 “After the studio was finally built, Mr. Griffith asked me to stay on as a set builder. Stone fireplaces were my specialty, but I worked on everything from Gothic walls to painted desert backdrops. The actors were almost always friendly, and I was getting $55 a week and drove a $1,200 Buick. What more could a young man desire?” DW Griffith filming team – Mamaroneck NY – Way Down East In those days the area was less the “East Coast Hollywood” than Hollywood was “the West Co