The kindergarten of the movies : a history of the Fine Arts Company
A House Built upon Sand – By Anthony Slide – 1980
A House Built upon Sand is noteworthy for Lillian Gish’s wearing $6,000 worth of gowns. As the shallow wife who learns to respect and obey her husband, Lillian Gish was praised by the critics. In Motion Picture News (January 6, 1917), Peter Milne wrote, “She plays well. Her forte is comedy and in it a certain theatrical tone in her work, which is apt to be taken for insincerity, is more appropriate. Hers is in general a fetching performance.”
To play opposite Lillian Gish in The House Built upon Sand, Fine Arts brought in Roy Stuart, who had made his mark in Lois Weber productions at Universal, and who, as The Moving Picture World (December 23, 1916) noted, “physically is one of the largest screen heroes to gain attention, standing some 6 feet 3 inches in height and weighing 210 pounds.” In other words, he looked bulky, middle-aged and somewhat unattractive.
Griffith left undiscussed the sordid question of how much money Adolph Zukor had offered him to join Artcraft. Artcraft issued a similar, shorter statement: “Mr. Griffith intends to concentrate his time and energy in such a manner as to create a number of subjects of wide dramatic and scenic scope in order to comply with the insistent public demand for more Griffith productions. Mr. Griffith’s producing force will operate wherever necessary to obtain the startling realism for which this noted director is famous. ” With Griffith’s departure from Fine Arts, Frank Woods tendered his resignation as did Edward Dillon. Lillian Gish, Robert Harron and Lloyd Ingraham were under personal contract to D. W. Griffith and also left. Alma Rubens’ Fine Arts contract was taken over by Ince. Bernard McConville signed a contract with Fox, and two other Fine Arts screen writers, Mary H. O’Connor and Roy Somerville, resigned.
It was announced that Thomas Ince would produce all future Fine Arts films at his Culver City studios. Triangle hastily issued a statement,
“According to the most carefully compiled reports of unprejudiced film critics Triangle releases, produced under the supervision of Thomas H. Ince, have been the best box-office attractions of any program releases produced during the part year. This fact confirms the claim of Ince adherents that the presiding genius of Culver City is perhaps the greatest supervising director that the motion picture industry has yet produced, that it is a noteworthy fact that Ince had outdistanced all competitors in his ability to keep his organization running at the top notch of efficiency month in and month out. No other producer can be called to mind with a list of successes equally imposing, turned out in the regular course of events. Ince is not only a director of the highest quality himself, but he possesses the much rarer accomplishments of being able to stimulate his subordinates to their best endeavors under all circumstances.”
How soon did Triangle choose to forget Griffith’s contribution to its fame!
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