The kindergarten of the movies : a history of the Fine Arts Company
The Children Pay – By Anthony Slide – 1980
Far more impressive is The Children Pay, directed by Lloyd Ingraham and scripted by Frank Woods. It is a simple story, told in that simple, straightforward fashion which Griffith had perfected at Biograph, and was to use to advantage later in True Heart Susie and A Romance of Happy Valley. The early scenes give Lillian Gish a superb opportunity to play a tomboy, firing a catapult, driving a soap box derby-type car and fighting with a boy outside the church and thus breaking up the service. In all this, she is aided and abetted by the delightful Violet Wilkey, who played Mae Marsh as a child in The Birth of a Nation.
Of The Children Pay, Julian Johnson wrote in Photoplay (February 1917),
Here is the sanest, most humanly interesting five-reeler of the month, although in most of its episodes decidedly undramatic. It is such a story of drifting parents, an ever-widening domestic gulf, and the keen sorrows and quaint joys of a pair of little girls as you might expect from the pen of a young William Dean Howells. As a matter of fact, Frank E. Woods of Fine Arts wrote it, and there are deployed in its unrolling such redoubtable character persons as Ralph Lewis, Jennie Lee, Loyola O’Connor and Carl Stockdale. Miss O’Connor, as the demi-artist mother, provides a remarkable exhibit of self-satisfied selfishness, wholly different from the usual sympathetic vehicle accorded her. Lillian Gish plays Millicent, the oldest girl who is the focal center of all the activity. I have never seen Miss Gish draw a more real, interesting and believable young woman. She has literal pep and actual punch–two qualities which tradition says are extremely ungishy. There are those who say the final legal situation is impossible. I don’t know that the body of the play is a page of life, of which the screen shows far too little.
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