‘White Sister’ Photoplay of Rare Appeal – By Mae Tinee (Chicago Tribune – 1923)
‘White Sister’ Photoplay of Rare Appeal – By Mae Tinee (Chicago Tribune – 1923)
Chicago Tribune – Monday, November 12, 1923 – Page 21
‘White Sister’ Photoplay of Rare Appeal
‘One of Most Exquisite Ever Screened’
“The White Sister”
Produced by Inspiration Pictures
Directed by Henry King
Presented at the Great Northern
Angela Chiaromonte ……………….. Lillian Gish
Capt. Giovanni Severi ….….…. Ronald Colman
Marchesa di Mola ………………….….. Gail Kane
Monsignor Saracinesca ……. J. Barney Sherry
Prince Chiaromonte ………………. Charles Lane
Madame Bernard ……..….. Juliette La Violette
Prof. Ugo Severi ……………………… Sig. Serena
Filmore Durand ……………….. Alfredo Bertone
Count del Ferice …………..…….. Ramon Ibanez
Alfredo del Ferice ……….… Alfredo Martinelli
Mother Superior ……………………. Carloni Talli
General Mazzini ………….….. Giovanni Viccola
Alfredo’s Tutor …………………… Antonio Barda
Solicitor to the Prince …….. Giacomo D’Attino
Solicitor to the Count ….….….. Michele Gualdi
Archbishop ………………..……. Giuseppe Pavoni
Professor Torricelli ……….. Francesco Socinus
Bedouin Chef ……………………. Sheik Mahomet
Lieutenant Rossini ………………….. James Abbe
Commander Donato …..…. Duncan Mansfield
By Mae Tinee
Good Morning! Regardless of church or creed, it seems to me that every honest person who views “The White Sister” will pronounce it one of the most exquisite photoplays ever screened. The power, the beauty, the realism, the pathos of it MUST strike home. It was adapted from the story by F. Marion Crawford from which a play was also made. The latter, I believe had a happy ending. Book and picture dare the world.
At that, in many instances, the film departs from the original tale. In essentials, however, the tragic story of little Angela, who, believing her lover dead, becomes a nun, refusing, after she has discovered he lives, to break her vows to the church, is the same.
For the first reel or so you are dubious. You have seen better photography and makeup. THEN the acting which achieves the distinction of appearing to BE NOT acting grips you. Your emotions are swept along with those so vividly pantomimed before you. By the time the twelfth reel is over you have forgotten all faults of technique, for in pictures, as in people, it is the subtle something that “gets” you or DOESN’T get you.
A high note of ecstasy runs through even the most painful moments of the film. You are never depressed, though, heaven knows, following the fated footsteps of Angela from the moment she is sent unjustly from her home till the eruption of Vesuvius, which is the final dramatic visitation, by all laws of cinemaology (new word), you should be innumerable times.
Speaking of this eruption and the storm that comes in its wake, this part of “The White Sister” is typically Griffithnonian. Who’s behind this “Inspiration Pictures” company, anyway? Henry King is a clever director, but don’t tell me that David Wark Griffith wasn’t hovering somewhere in the background during the time mentioned. I also suspect him of being much there when Angela goes through the final impressive ceremony that makes her a “White Sister.”
There is only one place when you are frankly bored, and that is during the long drawn out death scenes of the jealous half sister of Angela. Before she finally passes on a horrible fear obsesses you that she will prove to have nine lives. She certainly doesn’t stop living until she gets what she wants.
As a rule I am not greatly impressed by the work of Miss Lillian Gish. This time though, I admire her with all my heart. She is lovely throughout and does “bits” of most excellent acting. Ronald Colman as her lover is immense. J. Barney Sherry as a priest is so good at times that he threatens to run away with the piece. Juliette La Violette as Angela’s governess is an intensely human sort of person.
“The White Sister” was photographed in Italy, so its obvious that the “atmosphere” is all it should be.
And now I leave the production to your consideration – which may or may not be tender.
See you tomorrow.
Chicago Tribune – Sunday January 6, 1924 – Page 52
Dear Mae Tinee. Whenever I read one of your reviews on a Lillian Gish picture I get absolutely sick. For goodness sake, why don’t you ever give her the credit due her? You know she is the greatest actress on the screen today and has been for the last few years. Why not admit it? Also, why force your personal prejudice on the public? Anybody with half an eye knows, from reading your reviews of Lillian Gish pictures, that you have a personal dislike for her. I suspect that at some time or other when she was in Chicago she failed to call on you or ignored you in some way. Your pride thus injured, you decided to get revenge.
After reading your review of “Orphans of the Storm” I was ready for a battle. I feel the same today, for I saw “The White Sister” last night. Lillian Gish is the most exquisite being in the world and the greatest actress. She expresses so much with – O, what’s the use?
In a recent review you said “As a rule I am not greatly impressed by the work of Lillian Gish. [By the way, you have said that before.] This time though, I admire her with all my soul. She is lovely throughout and does bits of most excellent acting.”
That’s all right – but what I am kicking about is you couldn’t let the matter rest there, as you should have, but had to remove the entire effect of your merger compliment by, “J. Barney Sherry as a priest is so good that at times he threatens to run away with the piece.”
Never give a compliment with a question mark; it doesn’t mean a darn thing. M.F.
Admin note: David W. Griffith had no contribution to White Sister’s production, not even as tech advisor. Behind “Inspiration Pictures” company was Charles H. Duell, the famous lawyer-owner-lover who attacked Lillian Gish in court for breach of contract. Above article is remarkable by mentioning James Abbe (the photographer) in a small part as Lieutnant Rossini. On the other hand, the author should have been ashamed for obvious unjust criticism, (unfortunately manifested in other articles as well), not to be expected from a professional journalist.
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
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
Lillian Gish Still Favors Long Tresses – By Antoinette Donnelly (Chicago Tribune – 1938) Chicago Tribune – Saturday, April 9, 1938 Page 9 Lillian Gish Still Favors Long Tresses By Antoinette Donnelly We talked backstage recently with Lillian Gish, player of the leading role in one of Broadway’s hits of the season, “Star Wagon”. We found her with her waist-length hair hanging, a sight that gladdens the eye unaccustomed to hair rarely even more than shoulder length. Miss Gish’s hair is a beautiful color, too. A silvery ash blonde that she claims has darkened as this type of hair usually does, but it still is, to us, a beautiful silvery ash tone. We asked Miss Gish how she managed to survive the temptation to cut the long locks, after she admitted never having succumbed once to the urge for short hair. She explained that her hair had been earning her living for her since she was a youngster and that now she has a superstition about cutting it. Incidentally, we had been at a smart hair sho