The Scarecrow Press, Inc. Metuchen, N.J. & London 1978
Henry King is a man of slightly more than average height. He looks surprisingly good wearing a hat, even if it is only a straw fedora; and were it not for the fact that his hat shields his grayish, thinning hair, you would never be able to guess how old he is from his alert, observant blue eyes and his deeply tanned skin. He is chary of revealing his age, having been born on 24 January 1896 at Christiansburg, Virginia, but then his active interest in life belies his years, as much as the fact that he still flies his own airplane and enjoys playing golf. He lives in Amelia Earhart’s former house in North Hollywood, bordered in the rear by a golf course, verdant turf spread beneath majestic trees stretching quietly in the California sun.
While King was at work on FURY (First National, 1923), featuring Richard Barthelmess (their last picture together) and Tyrone Power, Sr. , Charles Duell was taken with the idea of making a film with Lillian Gish. FURY was a sea story and King had chartered a ship for sixteen days to get the sea episodes filmed. When he docked, Duell had Lillian Gish with him. Edmund Goulding, who had done the screen play for FURY, wanted a chance to write the scenario for the Gish picture, to be titled THE WHITE SISTER. Goulding claimed he could complete it in ten days. When King saw Goulding’s treatment, he threw it out. Fortunately, King bumped into George V. Hobart, a Broadway playwright, in a restaurant. King told Hobart he would pay $1,000 a week for a good screenwriter, somewhat a measure of his hardening opinion of Edmund Goulding’s abilities. Hobart joined King in a short trip to Atlantic City to talk about the storyline. A week later they had twelve pages of story and King liked it.
When King returned to New York, he encountered Edward Small, who was a talent agent in those days. Small said there was a good play on Broadway at the 39th Street Theatre and that King should take a look at the actor in the second act. The play was a starring vehicle for Ruth Chatterton. Ronald Colman was the actor Small had had in mind. King was impressed by him and arranged a meeting. He wanted him for the role of the male lead, Giovanni, in THE WHITE SISTER. Colman told King that he had come from England with the hope of appearing in films, but that he photographed poorly and having been given a role in the play, felt he couldn’t leave. King insisted on doing a screen test anyway. He slicked down Colman’s pompadour and drew a moustache on him. The four-hundred-foot test was shot three times. When Gish saw the rushes–THE WHITE SISTER had been inspired by her desire to play a nun; it was the first film she was signed to make after leaving D. W. Griffith– she was enthusiastic about Colman. The picture was to be filmed in Italy. Colman agreed to play in it. He was offered $450 a week. Gish was getting $1,000 a week.
By modem standards, THE WHITE SISTER is one of those curious clerical dramas of the silent era, with Gish in her customary role of a sainted and vestal heroine. According to the screenplay, she falls in love with Colman. Then, believing him killed in the Great War, she decides to enter a convent. Colman shows up after she has taken her vows, and, however waveringly, Gish successfully resists him.
This film, like DeMille’s THE TEN COMMANDMENTS (Paramount, 1923) with Richard Dix, requires today a suspension of the critical faculties, particularly in view of the presumed motivations prompting the actions of the principals. First National, which had been distributing Inspiration’s features, thought THE WHITE SISTER (Metro Pictures, 1923) held little box-office promise. The film was then offered to Nicholas Schenck, who was president of Loew’s, Inc., the theatre chain which owned Metro-Goldwyn-Mayer. Schenck was willing to distribute. The picture proved a commercial success. It had cost only $300,000 to make in spite of its location shooting in Europe. King found the Italians easy to work with and not at all the difficult and lazy bunch they were according to Fred Niblo who was working in Italy on M-G-M’s BEN HUR.
Colman so liked working in pictures that he asked King if there was a part for him in King’s next project. King wanted to make ROMOLA (Metro-Goldwyn, 1924), based on the George Eliot novel. The location was again to be Italy.
It was to be a costume drama, a much more expensive film to make with its fifteenth-century setting, once more with a religious motif, a romantic drama played against the ravings of the fanatic Savonarola. Lillian and Dorothy Gish were the heroines. William Powell and Ronald Colman were the male leads. ROMOLA bombed. But the picture did bring Ronald Colman to the attention of Samuel Goldwyn. Goldwyn offered Colman a contract. Colman was undecided. He felt he should stay with Henry King. But with the failure of ROMOLA, Inspiration was in financial straits. King urged him to accept Goldwyn’s offer.
When Henry King returned to the United States, he signed a two-picture deal with Paramount. Both films were mediocre love stories, although the second one, ANY WOMAN (Paramount, 1925), made some feeble attempts at comedy.
WAY DOWN EAST (Fox, 1935) was Henry King’s last film for the old Fox regime. It was, of course, a remake of what remains perhaps D. W. Griffith’s best film after THE BIRTH OF A NATION (Epoch, 1915). King had always been impressed with Griffith’s film and he considered the remake a great challenge. Unfortunately, Fox was financially strapped. The Shirley Temple musicals, the Will Rogers pictures, and Charlie Chan were the only consistent money makers the studio was producing. King could not, as Griffith had, film the exteriors during the blizzard, crossing the river on the ice floats, on location; he was confined to the back lot at Fox’s Western Avenue studio. King wanted to simulate frozen eyelashes, such as Lillian Gish had had in the original. He couldn’t. Henry Fonda was able to jump around on the cakes of phony ice, but he was sweating when he did it.
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